BRJUNARD'S 

NEW  AND  IMPROVED  EDITION 


OF  THE 


I  II  iiliiil 


CONTAINTNG  THE 

I  Rudiments  of  Music, 

dTJuinrjxrumnjij\nxLrm 

C4X.CULATKD  EITHER  FOR 

Prlvatfs  'f  uition^  or  Teacliiiig  In  Olasses; 

lliCil        Ar>])ED  A 


F.  BURROWES.^^ 

TftEODORE  PRESSER 

F«ILADELPf4IA  PA 


f 


n 


IVEW  AND  IMPROVED  EDITION 

OF  THE 

PIANO -FORTE  PRIMER; 

CONTAINING  THE 

RUDIMEKTS  OF  MUSIC, 

CALCULATED  EITHER  FOB 

miVATE  TUITION,  OR  TEACHING  IN  GLASSES: 

TO  WHICH  IS  ADDED  A 

BY  ; 


> 

PREFAOl. 

The  rapid  sale  of  this  little  work,  and  the  flattering  approbataea 
Which  has  been  bestowed  upon  it  by  many  of  the  most  eminent  Pro- 
fessoi-s,  have  given  great  satisfaction  to  the  Author.  In  presenting 
another  edition  to  the  musical  world,  he  begs  to  repeat,  that  it  is  not 
intended  to  interfere  with  the  mode  of  instruction  which  any  Master 
hs  4  already  adopted,  but  to  be  used  either  in  private  tuition  or  teach* 
ing  in  classes,  in  addition  to  the  regular  lessons  already  in  use. 

The  author  thinks  it  necessary  to  repeat,  that  he  does  not  offer 
this  book  as  containing  anything  new  ;  yet  he  hopes  it  will  be  found 
useful  in  explaining  the  rudiments,  and  thereby  enabling  the  Master 
to  devote  more  time  to  other  important  branches  of  music. 

The  following  remarks,  although  certainly  superfluous  to  professorff 
in  general,  he  hopes  will  not  be  thought  intrusive. 

The  principal  object  of  every  teacher  should  be,  to  make  his  pupils 
thoroughly  comprehend  one  question  before  they  proceed  to  another; 
for  this  purpose,  each  one  shonid  be  provided  with  a  music  slate, 
upon  "^rhichj  after  ssplanation,  the  teacher  should  write  an  exercise 
drawn  from  the  questions  or  the  Appendix,  leaving  the  blanks  to  be 
filled  up  by  the  pupils. 

Every  exercise  should  be  repeated,  and  the  form  of  it  varied,  until 
it  be  done  without  a  mistake,  and  until  the  pupil  be  able  to  give  an 
Example  upon  the  instrument,  or  answer  any  question,  whether 
proposed  in  the  regular  order  or  otherwise.  This  will  be  attended 
with  a  little  trouble  to  the  Master  in  the  first  instance  only,  as  the 
author  recommends  that  the  learners  of  the  second  chapter  should  be 
^eachers  of  the.^r5^;  and  this  should  be  done  at  a  distant  part  of  the 
room  in  which  the  Master  is  giving  his  lessons  at  the  piano-forte, 
that  he  may,  by  way  of  keeping  up  the  attention  of  the  scholars,  oc- 
casionally inspect  their  Examples  ;  and  it  is  recommended  that  an 
examination  of  the  whole  school  should  take  place  at  stated  periods, 


nr  PREFACB. 

On  the  subject  of  teaching  in  classes,  it  may  perhaps  be  necessary 
to  say  a  few  words.  The  author  has  practised  it  for  some  years, 
whenever  an  opportunity  has  offered,  and  he  is  of  opinion  that  so 
far  as  relates  to  the  rudiments  of  music,  and  of  thoroughbass,  (whicf 
this  book  does  not  treat  of,)  it  is  highly  advantageous  ;  not  only  on 
account  of  the  emulation  which  it  excites  in  the  scholars,  but  also  on 
account  of  the  time  which  it  saves.  Much  more,  however,  is  neces- 
sary, in  playing  the  piano-forte,  than  mere  accuracy.  The  author, 
therefore,  is  strongly  of  opinion  that  only  one  should  be  taught  to 
play  at  a  time  ;  for,  independently  of  reading  the  notes,  striking  the 
proper  keys  with  the  proper  fingers,  Lc,  &c.,  the  greatest  attention 
is  requisite,  both  on  the  part  of  master  and  scholar,  to  the  position 
of  the  hand  and  manner  of  playing.*  The  author,  however,  by  no 
means  wishes  it  to  be  unders^-ood  that  he  is  averse  to  the  pupils  play- 
insr  occasionally  together  what  they  have  first  learned  separately  :  on 
the  contrary,  he  thinks  it  highly  desirable,  particularly  where  they 
have  contracted  any  hesitation  in  their  manner.  In  this  case,  he  has 
found  great  advantage  in  making  on 3  scholar  play  the  treble  and  an- 
other the  bass  ;  or  in  making  the  second  scholar  play  an  octave  above 
the  treble  or  below  the  bass,  while  the  other  is  playing  the  lesson 
with  both  hands ;  or,  what  is  a  still  more  common  practice,  by  adding 
an  accompaniment  himself 

To  those  who  may  not  have  already  taught  their  pupils  in  classes, 
the  author  ventures  to  suggest  the  following  outline  of  a  plan  for 
forming 

CliASSES  FOK  MUSIC  IN  SCHOOLS. 

The  school  to  be  divided  into  classes  by  the  master  ;  one  whole 
class  to  attend  at  a  time,  with  one  pupil  from  the  class  next  above  as 
teacher. 

"To  thoge  who  are  unacquainted  with  the  piano-torte,  a  few  words  in  explana- 
tioa  of  what  is  meant  by  'manner  ot  playing/  may  be  neces.-ary.  In  the  first 
place,  one  key  must  be  held  down  until  th«  next  is  struck,  and  no  longer;  a 
deviation  from  this  rule  will  either  produce  a  want  of  clearness,  or  want  of 
connection  of  every  passage  that  is  played;  after  a  habit  of  doing  this  is 
acquire^^,  the  exceptions  must  be  attended  to:  which  are,  to  raif=e  the  fingers 
from  all  the  Notes  that  are  to  be  repeated,  and  from  those  which  ha^  e  particu- 
lar marks  set  over  them,  as  well  as  at  the  Rests.  More,  it  is  ponc^iviwi,  need  not 
be  said,  to  c<^>nvince  aj)y  one  of  the  impossibility  of  teaohiUii  prvijieilv  a  mnn- 
ber  of  scholars  toeether. 


Skeh  pupil  to  be  teacher  in  turn. 

The  pupils  not  to  be  admitted  into  an  upper  class  until  they  liave 
passed  regularly  through,  and  can  give  all  the  requisite  Examples  m 
<3ie  lower  classes. 

Pupils  of  talent  to  be  removed  to  the  upper  classes  as  soon  as 
Master  finds  them  qualified,  without  waiting  for  those  who  are  less 
rapid  in  their  improvement. 

The  Exercises  of  each  class  to  be  appointed  by  the  Master.  Thej 
may  be  selected  either  from  the  Primer,  or  by  making  the  pupils  ex- 
plain to  the  teacher  the  lesson  about  to  be  played  ;  both  the  time 
marked  and  manner  of  counting  it  throughout,  pointing  out  those 
Notes  from  which  the  fingers  are  to  be  raised,  those  Notes  which  are 
to  beheld  down,  the  reasons  for  the  fingering,  &c.,  &c. 

The  classes  to  be  held  only  during  the  time  the  Master  is  giving 
his  lessonrf  at  the  piano-forte. 

The  younger  pupils  to  be  attended  at  their  daily  practice  by  one  of 
the  elde^  ones,  who  is  to  be  appointed  by  the  Master. 

After  being  made  thoroughly  acquainted  with  the  contents  of  this 
book,  the  pupils  may  proceed  with  the  study  of  Harmony,  and  the 
practice*  of  playing  from  figured  bases. 


Copyrighted  mdccclxvCTo 
I  ■■  II  ■  Ill  I  -I 


CHAPTKR  1. 


OF  THE  KEYS,  STAJ^. 


How  are  the  Keys  ot  the  Piano-Forte  nanaed  ? 

From  the  first  seven  letters  of  tne  alphabet :  th^  Eighth, 
or  Octave,  is  a  repetition  of  the  first.  Example  :  A^B,  C, 
D,  E,  F,  G,  A,  B,  C,  &c. 

How  are  the  Letters  applied  to  the  Keys  ? 

First,  by  observing  that  the  Black  Keys  are  divided  into 
groups  of  two  and  three.  D,  is  between  the  two  Black 
Keys  :  G,  is  on  the  left,  and  A,  on  the  right,  between  the 
three  Blaok  ones. 

Describe  the  situation  of  the  others. 

C,  is  on  the  left,  aad  E,  on  the  right  hand  side  of  D. 
F,  is  on  the  lert  of  G  ;  and  B,  on  the  right  of  A. 

What  is  a  Stajff  ? 

A  Staff  consists  of  five  Lines  and  four  Spaces,  upon  whacb 
the  Notes  are  placed,  and  named  regularly  by  degrees. 


10  KEYS,  STAFF,  &C. 

Nam©  tlie  Degrees  ©f  the  Staff  upwards  and  downwards. 


 "  5lh  Line- 

4th  Space. 

 4th  line.  — 

3d  Space. 

 3d  Line.  — 

2d  Space. 

 2d  Line.  ^  — 

1st  Space. 

• — 1st  or  lowest  Line.  ~ 

Suppose  a  Note  upon  the  first  Line  is  called  E,  what  will  be  the  name  of  a  Note  in 
the  first  Space  ? 

If  the  first  Line  :s  E,  the  first  Space  will  be  F  ;  the  second 
T^me  G,  the  second  Space  A,  &c. 

By  what  means  is  a  particular  letter  applied  to  a  Note,  upon  any  degree  of  the 
Staff. 

By  a  Clef  or  Key  to  the  notes,  which  is  placed  at  the 
beginning  of  the  Staff. 

"What  Clefs  are  in  present  use  for  the  Piano-Forte  ? 


The  G,  or  Treble  Clef, 


generally  used  for 


the  right  hand,  or  upper  part ;  and  the  F,  or  Bass  Clef 
generally  used  for  the  left  hand,  or  lower  part 

Upon  what  line  Is  the  Treble  Clef  placed  ? 

The  G,  or  Treble  Clef,  is  placed  upon  the  second  line,  I 
consequently,  the  Note  upon  that  Line  is  called  G,  or  Clef 
Note 

Name  the  Treble  Notes,  upwards  and  downwards  from  the  Clef  Notew 


A         B         0         D        E  :t 


or  Clef  Note. 
Give  an  example  upon  the  foregoing  Treble  Notefik 
Xjpou  what  Line  is  t  le  Base  Clef  placed  ? 


KEYS,  STAFF,  &C* 


11 


The  F,  or  Base  Clef,  is  placed  upon  the  fourth  Line ; 
consequently,  the  Note  upon  the  fourth  Line  is  called  F,  or 
the  Base  Clef  Note. 


Name  the  Base  Notes,  upwards  and  downwards  from  the  Clef  Notes. 

G  A 


9i 


G 


B 


E  F 

or  Clef  Note. 


Gire  an  exercise  npon  the  foregoing  Base  Notes. 
How  are  higher  or  lower  Notes  written  ? 

Upon,  above,  or  beloiY  Ledger  lines,  which  are  drawn  a 
boTe  and  below  the  Staff. 

Name  the  Degrees  above  and  below  the  Staff. 


!  

1 

% 

1 

Note 
above 
the 
Staff. 

Upon  the 
1st  Ledger 

Line, 
above  the 
Staff. 

Above 
the  1st 
Ledger 

Line. 

Upon  the 
2d  Ledger 

Line 
above  the 

St^. 

Above 
the  2d. 

Upon 
the  3d. 

Above 
the  3d. 

&c. 


1  

 &c 

9 

Note  below 
t^e  Staff. 

Upon  the  1st 
Ledger  Line 
below  the 
Staff. 

Below  the 
1st  Ledger 
Line. 

Upon  the  2d. 

Below  the  2d. 

12 


KEYS,  8TAFF»  &C< 


Ml 
« 41 

P 

Q 
M 


% 

III 


be 

rf2 


i 

k 

14 

114 

Ilk 

1114 


Give  Exercises  upon  the  foregoing  Treble  and  Bass  Notes. 

How  is  the  situation  of  the  Clef  Notes  determined  on  the  Piano-Forte  ? 

First,  by  finding  the  C,  which  is  nearest  the  middle  of  the 
instrument,  called  middle  C  :  the  G,  or  Treble  Clef  Note,  is 

tfee  :^rst  G  aboye,  or  on  the  ^i^ht  harjd  side  of 


LENGTH  OV  NOTES,  RESTS,   &C.  13 

The  F,  or  Bass  Clef  Note,  is  the  first  F,  below,  or  on  the 
left  hand  side  of  middle  C. 

How  are  the  situations  of  the  other  notes  determined? 

By  going  to  the  right,  for  those  above :  and  to  the  left, 
for  those  below  the  Clef  Notes. 

Give  an  Exercise  for  naming  and  striking  some  Treble  and  Bas?  Notes 


CHAPTER  IL 

ox  THE  LENGTH  OF  NOTES,  RBftTft,  &C' 


How  many  aifferent  sorts  of  Notes  are  In  ge^rai  xisc  ? 

Six. 

Describe  and  show  their  different  forms  ? 


L  ''^ 

It 

 ft- 

r 

♦  Whole  Note.      Half.  Quarter.       Eighth.       Sixteenth.  Thirty-Second, 


^Miat  proportion  do  they  bear  to  each  other  ? 

Each  Note  is  onl}^  half  the  length  of  the  one  preceding  ; 
for  example,  a  half  note  is  only  half  as  long  as  a  whole 
note,  consequently  one  whole  note  is  as  long  as  two  half 
notes. 

Suppose  you  wish  to  know  how  m?Jiy  Sixteenth  Notes  are  equal  to  a  whole,  or  a 
Half  Note,  in  what  manner  will  you  reckon  them  ? 

By  beginning  frora  any  one,  and  proceeding  in  rotation, 
always  doubling  the  number  ;  for  example,  one  Quarter  is 
as  long  as  twa  Eighths,  four  Sixteenths,  or  eight  Thirty- 
seconds. 

♦  In  the  present  edition,  the  more  modern  names  of  Notes,  viz.  Whole,  Half, 
Quarter,  Sixteenth,  and  Thirty-Second,  instead  of  Semibreve,  Minim,  Crotchet, 
Quaver,  and  Semiquaver,  have  been  introduced,  as  being  more  generally  used  and 
]a»re  readily  understood. 


14  LENGTH  OF  NOTES,  RESTS,  &C, 

Bepeat  the  general  Table  of  the  value  of  Notes, 


4-3 

o 


O 

K 


2  = 


O 

Quarter. 

Eighth. 

Sixteenth. 

Thirty-Se( 

A  — 

Q   

o  — 

ID 

= 

2  - 

4  = 

8 

=  16 

r  - 

2  = 

4 

=  8 

f  = 

2 

=  4 
=  2 

^ 


Name  the  half,  the  fourth,  the  eighth,  the  sixteenth  oi  a  Whole  Note ;  of  a  half 
Note,  Quarter  Note,  Eighth  Note,  &c. 

What  are  Rests? 

Marks  for  Silence,  corresponding  with  the  different 
Notes. 

Describe  and  show  them. 

WJiole  Half  Quarter  Eighth  Sixteenth  Thirty- 
Best.      Best.      Rest.       Best.       Best  Second. 


Under  a 
Line. 

Over  a 
Line. 

Turned  to 
the  riglit. 

Turned  to 
the  left. 

With  two 
Heads. 

With  three 
Heads. 

Wliat  is  the  use  of  a  Dot  after  any  Note  or  Rest? 

A  Dot  is  equal  to  half  the  preceding  Note  ;  consequently 
a  Whole  Note  with  a  Dot,  is  equal  to  three  Ilal^  Notes, 
or  six  Quarters,  &c.  A  Dotted  Quarter  is  as  long  asi  tbr«e 
Eighths,  &c. 


LENGTH  OF  NOTES,  RESTS,  &C. 


15 


Wliat  is  a  Triplet? 

When  tliree  eighth  notes,  instead  of  tim^  are  played  to  a 
quarter  note,  they  are  called  a  Triplet ;  or  three  sixteenths 
instead  of  two,  to  an  eighth  note  ;  and  in  the  same  pro- 
portion to  all  the  other  Notes.  Triplets  are  generally,  but 
not  always,  marked  with  a  figure  3. 


A  figure  of  6  is  sometimes  placed  over  six  Eighth  Notes  or  sixteenth  Notes.  &c. 
W^hat  does  it  signify  ? 

It  signifies  that  the  six  Eighth  Notes  are  to  be  played  in 
the  time  of  four,  or  in  the  time  of  one  Half  Note. 


16 


CHAPTER  m, 


OF  TIME. 

What  are  Bars? 

Short  Lines  drawn  across  the  Staff,  to  divide  the  Muslo 
into  equal  portions  ;  but  the  Music  between  two  of  these,  is 
ftlso  called  a  Bar,  or  Measure. 

How  many  sorts  of  Time  are  there  ? 

Two  :  Common  Time,  and  Triple  Time. 

"W^hat  is  meant  by  Common  Time  ? 

An  even  number  of  parts  in  a  Bar,  as  Two,  Four,  Six  w 
Twelve. 

What  is  meant  by  Triple  Time? 

An  odd  number  of  parts,  as  Three  or  Nine. 

How  is  the  time  marlied  ? 

At  the  beginning  of  every  piece  of  Music  ;  sometimes  it  is 
marked  by  a  which  signifies  Common  Time,  and  the  Bar 
then  contains  the  value  of  a  Whole  Note,  but  generally 
expressed  four  quarters  in  a  Bar  :  the  Time  is  also  occa- 
sionally marked  by  two  Figures,  which  have  a  reference  to 
the  Whole  Note. 

How  do  the  figures  refer  to  the  W  hole  Kote. 

The  lowest  figure  shows  into  how  many  parts  the 
Whole  Note  is  divided,  and  the  upper  Figure  shows  how- 
many  of  those  parts  are  to  be  in  a  Bar. 

Name  the  Divisions  of  a  Whole  Note. 

A  Whole  Note  divided  into  two  parts,  will  become  Half 
Notes  :  divided  into  four  parts,  it  will  become  Quarter 
Notes :  divided  into  eight  parts,  it  will  become  Eighth 
Notes  ;  consequently,  the  figure  of  2,  represents  lialf 
Notes  ;  the  figure  of  4,  represents  Quarter  Notes  ;  and  the 
figure  of  8,  represents  Eighth  Notes, 

Explain  the  following  marks  of  Time;  pointiugout  which  are  Common,  and  which 
;ire  Triple  Time. 


12 

=-|r2— 1 

— 

1 — ^  - 

.  8 

O  J 

CI 

4—^  4 — ' 

U-4  r—H— : 

OF  TUIE. 


17 


How  many  sorts  of  Common  and  Triple  Time  are  there? 

Two  of  each,  viz  :  Simple  and  Compound. 

How  are  they  distinguished? 

The  easiest  way  is  to  remember,  that  if  the  Number  of 
Notes,  expressed  by  the  figures  is  less  than  6,  it  is  Simple  ; 
but  if  it  is  6,  or  more  than  6,  it  is  Compound. 

Explain  again  all  the  marks  of  Time,  pointing  out  which  are  Simple  and  which  are 
Compound. 

Is  it  necessary  to  count  the  Time,  exactly  as  expressed  by  the  Figures? 

No.  Two  quarter  Notes  may  be  counted  as  four  Eighth 
Notes  ;  three  Quarter  Notes  as  six  Eight  Notes,  &c. 

How  is  the  Time  to  be  counted,  if  the  piece  contains  Triplets? 

It  must  be  counted  by  the  value  of  the  Triplet :  for  ex- 
ample, if  there  are  three  eighth  notes  to  the  quarter,  the 
Time  must  be  counted  by  quarters  :  if  there  are  three  six* 
teenths  to  an  eighth,  it  must  be  counted  by  eighths. 


CHAPTER  lY. 

OF  THE  POSITION  OF  THE  HAND,  AND  MANNEK  OF 
PLAYING,  &c. 

In  what  position  should  the  hand  and  arm  be  held  ? 

The  hand  and  arm  should  be  even,  neither  raisins;  nor  de 
pressing  the  wrist :  the  fingers  should  be  bent  at  the  mid- 
dle joint,  so  as  to  bring  the  points  of  them  even  with  the 
end  of  the  thumb. 

How  many  Keys  should  be  covered  by  the  hand  in  its  natural  position  ? 

Five  ;  one  finger  over  the  centre  of  each  Key.  In  press- 
ing down  a  Key  with  one  finger,  care  njust  be  taken  not  to 
move  the  others. 

How  many  Keys  are  to  be  held  dowji  at  a  time  ? 

Generally  speakings  one ;  and  that  miist  be  Kept  dowE. 


FcsmoN  OF  THE  uum^  &c. 


«iitil  the  next  Key  is  struck,  but  not  longer.  When  two  <» 
more  Keys  are  struck  at  one  time,  they  are  considered  but 
as  one,  and  they  must  be  held  down  until  the  next  Keys  are 
struck. 

In  what  cases  should  the  fingers  ne  raised? 

When  any  Key  is  struck  more  than  once,  it  should  be 
raised  every  time  but  the  last ;  and  the  fingers  must  of 
course  be  raised  whenever  a  Rest  appears. 

What  is  the  meaning  of  playing  Leoato  ? 

It  signifies  playing  smoothlj^,  always  keeping  one  Key 
down  until  the  next  be  struck. 

Wliat  is  playing  Staccato? 

Separating  the  Notes  from  each  other,  or  rai^i7ig  the  fin- 
ger from  one  Key  before  the  other  is  down. 

What  is  a  Slur  ?  ^^"^   .  . 

It  is  a  curved  line,  drawn  over^  or  under,  two  or  more. 
Notes,  to  signify  that  they  are  to  b.^  played  Legato. 

What  is  a  Tie,  or  Bind  ?        "  ~  ---.um-^ 

It  is  of  the  same  form  as  a  Slur,  but  placed  to  two  Notes 
alike  :  it  binds  the  second  to  the  first  ,  so  ths:t  only  the  first 
is  to  be  struck  ;  but  the  finger  must  be  heh,^  down  the  full 
time  of  both. 

How  are  Notes  marked  whicli  arc  to  be  played  Staccato? 

With  round  dots  or  pointed  specks,  above  or  below 
^hem  :  those  with  dots,  are  to  be  played  moderately  stao^ 
cato  ;  those  witli  si)ecks,  very  much  so. 

Play  the  following  passage,  in  the  three  dilferent  ways  it  is  marked. 


OF  Si/ABPS,  FLATS,  &C. 


19 


H©w  are  Notes  to  be  played  whioli  are  marked  with  Dots  and  Slurs  also  ? 

On  a  repetition  of  the  same  Note,  they  should  be  played 
as  closely  as  possible. 


-I — I — F- 


When  Notes,  thus'markec! ,  are  pla3^ed  in  succession,  the 
iSngers  should  be  gently  put  down,  and  gently  raised. 

•  <» 


1 


-I — h 


CHAPTER  y 

OF  SHARPS.  FLATS,  &C. 

What  is  an  Interval  ? 

An  Interval  is  the  difference  or  distance  between  two 
sounds. 

What  is  the  smallest  Interval  ? 

A  Semitone,  or  half  a  Tone.  Each  Key  of  the  Piano- 
Forte  is  a  Semitone  from  that  which  is  next  to  it,  whether 
it  be  a  White  Key  or  a  Black  one. 

What  is  a  sharp  ?^ 

A  Sharp  placed  before  any  Note,  raises  it  one  Semitone^ 
or  to  the  next  Key  on  the  right  hand. 


1 

=  =1- 

j^^ — a> 

HT*atisaFlat?  [) 


A  Flat  placed  before  any  Note,  lowers  it  one  Semitone, 
or  to  the  next  Key  on  the  left  hand. 


20 


or  SHARPS,  FLATS,  &C, 


0  

ffhat  is  a  atiiral 

A  Natural  brings  a  Note  that  has  been  raised  b}'  a  Sharp, 
«T  lowered  by  a  Flat,  to  its  former  place  again  : 


m 

— 9 

•  

^»  

oonsequently,  a  Natural  sometimes  raises  and  sometimes 
k)wers  a  Note. 

Why  are  Sharps  or  Flats  placed  at  the  beginning  of  a  piece  of  music? 

Any  Sharps  or  Flats  placed  at  the  beginning  affect  all 
Notes  of  the  corresponding  names,  throughout  the  piece. 


For  Example, 


a  Sharp  on;^^ 


the  tifth  line,  signifies 


that  all  the  F's  are  to  be  played  sharp  ;  and  Flats  upon  the 

Si^ace,  sisrnify  that  aD 


third  Line,  and  fourth 


the  B's  and  E's  are  to  be  flat. 

What  are  Accidental  Shari)s,  Flats  or  Naturals? 

Accidentals  are  those  which  are  not  marked  at  the  be- 
ginning of  the  piece. 

How  long  does  the  influence  of  an  Accidental  last  ? 

An  Accidental  affects  all  Notes  of  the  same  name  in  the 
Bar.   For  Example  : 

i 

signifies  that  all  the  C's  are  to  be  sharp,  though  onlj  the 
&:st  is  markedc 


COMSION  CHAKACTEKS,  &C. 


21 


 #  r 

 i  1  

10 

\^ 

— .  

The  Flat  in  this  Example,  although  placed  to  B  on  the 
third  Line,  affects  the  B  above  the  first  Ledger  Line. 

Do  Accidentals  ever  affect  Notes  in  the  Bar  following? 

Yes  :  if  the  last  Note  of  one  Bar,  which  has  been  made 
sharp,  begins  the  n'ext,  it  is  to  continue  sharp. 


 \ — 

1 

The  j^ame  is  to  be  observed  of  Flats  and  Natural, 


CHAPTER  VI. 


OF  COMMON  CHARACTERS  USED  IN  MUSIC. 


What  is  tke  lase  of  Double  Bars  ? 


Double  Bars  are  placed  in  the  middle,  or  at  the  end  of  a 
piece  of  Music,  to  show  that  a  part,  or  the  whole  is  fin= 
ished. 

Wlmt  is  the  use  of  Dots  at  a  Bar,  or  at  a  Double  Bar  V 

They  signify,  that  that  part  of  the  Music  which  is  on 
f.be  sam^  side  as  the  Dots,  is  to  be  repeated.  For  Example, 


22 


COMMON  CHARACTERS,  &C. 


these  Dots  being  on 


i 


the  left-hand  side  of 


the  Double  Bar,  signify  that  the  Performer  is  to  repeat  the 
former  piece  :  but  j"!"  •        "  these  Dots  being  on 


i 


the  right-hand  side,  signify  that  the  performer,  after  hav- 
ing played  to  the  next  Dots,  is  to  return  to  this  place. 

mat  is  the  use  of  a  Sign?  ^ 

The  second  time  it  occurs  in  a  piece  of  Music,  it  is  gen- 
erally accompanied  which  the  words  '•Dal  Segno^'  which 
signifies  ^From  the  Sign  ;'  consequently,  the  Performer  is  to 
turn  to  the  first  mark. 

What  is  llie  meaning  of  da  capo  ?~  generally  abbreviated  D.  C. 

From  the  beginningc 

What  is  the  meaning  of  da  capo  al  segno  ? 

From  the  beginning  at  the  Sign. 

Why  are  the  Figures  1  and  2,  sometimes  placed  at  the  Double  Bar,  in  the  middle 

of  a  movement  ? 


1 


The  Dots  at  the  Double  Bar  show  that  the  piece  is  to  be 
repeated  ;  and  the  Figures  denote  that  the  performer,  in 
playing  it  through  the  second  time,  is  to  omit  the  Bar 
marked  1,  and  play  that  which  is  marked  2,  instead. 

What  is  the  use  of  a  Pause  ?  ^\ 

A  Pause  placed  over  a  Note,  signifies  that  the  finger  is 

to  be  held  down,  and  the  performer  is  to  pause  as  long  as 
he  thinks  proper. 


^  

that  the  finge-rs  are  to  be  raised. 


USED  IN  MUSIC. 


23 


Wlf&fii'fc^anse  sometimes  placed  over  a  Double  Bar? 


1 


A  Pause,,  (or  the  words  II  Fine^)  placed  at  a  Double  Bar, 
^hows  that  the  piece  is  to  end  at  that  place,  after  the 
Da  Capo, 

What  is  the  meaning  of  the  word  bis  ? 

It  is  generally  accompanied  with  Dots  at  the  Bar3\,  and 
placed  under  a  Slur ;  it  signifies,  that  the  passage  0^*r 
which  it  is  placed,  is  to  be  played  twice  over. 

Bis. 


What  is  the  use  of  a  direct  ?   tr  


It  is  placed  at  the  end  of  a  Staff,  or  at  the  bottom  of 
page,  to  indicate  the  name  of  the  following  Note. 

What  is  the  meaning  of  Volti  Subitq?  generally  marked  V.  S. 

VoUij  means  turn  over  ;  Suhito^  quickly. 

What  is  the  meaning  of  Ottava  Alta?  generally  marked  8va. 

It  signifies,  that  the  Music  over  which  it  is  placed,  is  to 
be  played  an  Octave  higher,  as  far  as  lh3  marks  of  con- 
tinuation extend. 

Wliat  is  the  meaning  of  Loco  ? 

It  signifies,  that  the  Music  is  to  be  played  as  it  is  written 
that  is  to  say,  no  longer  an  Octave  higher. 

The  Fupil  should  now  toe  exercised  in  naming  the  Keys  of  the  Piano-Forr© 
without  looking  at  the  instrument,  remarking  that  the  Black  Keys  are  occasionaliy 
called  Sharps,  and  occasionally  Flats.  (See  Appendix,  Exercise  1.)  the  white  Keys 
also,  commonly  called  E,  F,  arid  B,  C,  frequently  change  their  names,  and  ai-«  used 
AS  Flats  or  Sharps  to  their  neiglihorin^- Keys 


^4  OF  GRACES 

The  others  too,  are  occasionally  called  Double  Sharps  aud  Donbla  Flats,  whidi 
jire  explained  at  the  beginning  of  Chapter  XI.  (See  also  Appendix,  Exercise  II.) 

Xame  a  Chromatic  Semitone*  above  A,  A^,  &c.  &c. 

A  Chromatic  Semitone  above  A  is  Xi^ ;  a  Chromatic 
Semitone  above       is  A  x? 

Name  a  Diatoni^  Semitone  aboA  e  A,  B,  Sea.  (See  Appendix,  Exercise  XIII, 
page  53.) 

Vame    Diatoiiic  Semitone  beloM-  A.  B,  &c.  (See  Appendix,  Exercise  XIII,  page 


CHAPTER  Yll. 

'JS-  QE?A«:t   AXB  C0M]Vr0N  MiiRKS  OF  EXPEESSIOK. 


Wbat  is  an  AppoglaiuB 

It  is  a  small  not^  ]Teflxed  to  a  large  one,  from  wMph  it 
generally  takes  hah  ts  time.  For  example,  an  appogiatura 


i 


::befort  i    half,  must  be  pla^^ed  as  a  quarter, 


conseqi.f\  ilyit  does  not  lengthen  the  Bar. 


Wlien  an  appogiatura  is  placed  be/oie  a  Double  Note,  is  it  to  be  p\ayed  by  itself, 
'fiLS  it  appears,)  or  with  the  lower  Xoi-  ? 

The  Appogiatura  is  to  bc.pla^^ed  instead  of  p- art  of  the 
upper  note  ;  consequently,  the  lower  note  must  be  plf  jed 
with  it.    For  Example  -. 

 ^  _  .  ^  

*  For  an  explanation  of  tlie  diSgrence  letween  a  CLrcmati*  aad  a  Diatonic 
feemitous^  b<3s  p^i:e  -±3. 


AND  COMMON  MARKS  OK  EXPRESSION.  25 


must  be  played  as  if  writteo  thus 


3 


Are  all  Appogiaturas  to  i&e  made  half  the  time  of  the  Note  they  precede? 

No  :  they,  as  well  as  the  other  Graces  used  in  Music, 
depend  greatly  on  the  taste  and  judgment  of  the  performer  ; 
consequently,  they  can  be  best  explained  as  they  occur. 

How  Is  a  Turn  5\5  to  be. made  ?  .  ^  , 

A  Turn  is  to  be  made  with  the  Note  above,  and  the  Note 
below  that  which  is  wi'itten,  beginning  with  the  highest : 
consequently,  a  Turn  upon  C,  will  be  made  with  D,  C,  B, 
C. 

Should  <he  lowest  Note  of  a  Turn  be  a  Tone,  or  a  Semitone  below  the  Note 
■written? 

In  most  cases  it  should  be  a  semitone. 

Supposing  a  Turn  be  made  upon  A ;  is  it  inmiaterial  whether  it  be  called  B,  A, 
Q^^.  A,  orB,A,  A,^  A,? 

No  :  three  different  letters  must  be  made  use  of  in  a  Turn, 
therefore. the  lowest  must  be  called       and  not  At>.. 

Name,  write  or  play  a  Turn  upon  A,  upon  B.  C,  D,  E,  F,  G,  &c  (See  Appendix, 
Exercise  111.) 
How  is  a  Turn  made  upon  a  Dotted  Note  ? 

By  first  striking  the  Note  itself,  and  making  the  Turn 
afterwards. 

OS) 


-I  U^- 


What  is  an  inverted  Turn  ? 

An  inverted  Turn  consists  of  the  same  Notes  as  a  Turn  ; 
but  beginning  with  the  lowest,  instead  uf  the  highest 
Note. 

Make  an  Inverted  Turn  upon  A.  B,  C,  D,  E,  F,  G,  &e. 
How  is  a  Shake  lo  be  made  ? 

A  Shake  is  made  with  the  Note  above,  and  the  Note 
which  is  wiitten ;  beginning  with  the  highest,  and  con* 
^^luding  with  a  Turn.    For  Example  : 


26 


OF  GRACES. 


f 


Must  be  played 


Or  thus, 


The  rapidity  of  the  Shake  depending  on  the  ability  of 
the  Performer. 

;  Make  a  Shake  upon  A,  B,  C,  D,  E,  F,  G,  kc. 
Wl^t  is  the  iiieaniiig  of  Piauo  ? 

Soft ;  generally  abbreyiated  P/a,  or  P. 

"Wliat  is  Pianissimo  ? 

Very  soft ;  generally  abbreyiated  P  Pmo,  or  PP 

What  is  the  meaning  of  Forte  ? 

Loud ;  generally  abbreyiated  For.  or  F, 

What  is  Fortissimo  ? 

Very  loud;  generally  marked ^j^mo.  or^^ 

What  is  the  meaning  of  Mezzo  Forte,  and  Mezzo  Piano? 

Mezzo  Forte  signifies  moderately  loud,  and  Mezzo 
Piano  moderately  soft:  the}'  are  generall}- marked  and 
mp, 

Wliat  is  the  meaning  of  Dolce,  or  Dol? 

Soft!}',  or  sweetly. 

What  is  the  meaning  of  Tennto,  or  Teno? 

It  signifies  that  the  fingers  are  to  bo  particular!}'  held 
down  during  the  passage  to  which  it  is  applied. 

What  is  Forzando,  or  Sforzato  ? 

They  each  signify  that  one  Note  is  to  be  played  strong : 
they  are  abbreyiated/:;.  and  sf, 

"NThat  is  Riniforzaado ' 


AND  COMMON  MARKS  OF  EXPRESSION.  37 

It  signifies  that  several  Notes  are  to  be  played  strong ; 
is  generally  marked  rinf,  or  rf 

TRiat  is  the  meaning  of  Crescendo,  or  Cres. 

Begin  softly,  and  gradually  increase  the  sound.  The  fol- 
lowing mark 


is  also  occasionally  used,  to  signify  that  the  Performer  is 
to  play  Piano  where  it  is  small,  and  Forte  where  it  is  large. 
If  a  small  mark  of  this  sort  is  applied  to  one  Note, 
it  has  the  same  effect  as/^. 

Wliat  is  tlie  meaning  of  Diminuendo,  or  Decrescendo  ? 

'  Begin  loud,  and  gradually  diminish  the  sound.  They 
are  generally  marked  dim,  decres,  or 


Wliat  is  the  meaning  of  Calando  or  Calo. 

Gradually  softer  and  slower. 

TVTiat  is  the  meaning  of  Perdendo£i? 

It  has  the  same  meaning  as  Calando. 

What  is  the  meaning  of  a  Tempo,  or  Tempo  Primo  ? 

After  having  slackened  the  Time  at  Calando,  it  signifies 
that  the  original  Time  is  to  be  resumed^ 

Wliat  is  the  meaning  of  ad  libitum,  or  ad  lib  ? 

It  signifies  'at  pleasure  that  is  to  say,  the  Performer 
may  play  the  passage  as  it  is  written,  or  introduced  any 
Cadence  he  thinks  proper. 

When  two  Notes  are  marked  with  a  slur,  thus, 


i 


^  what  manner  are  they  to  be  played  ? 


As  if  marked  thus,  / 


+ — -r 


that  is  to  say,  the  first 


is  to  be  pressed  and  held  down,  the  second  pla3^ed  softly, 
and  the  finger  raised  immediately*  • 


28 


OF  INTERVALS. 


What  is  meant  by  a  curved  or  waved  Line  placed  before  a  Chord? 


ne  piacea  oeior 


I 


It  signifies  that  the  Notes  are  not  to  be  played  quit^ 
together,  but  successively  from  the  lowest  upward.  Chords 
played  in  this  manner  are  called  spread,  or  arpeggioed 
chords. 


CHAPTER  VIII 


OF  INTERVALS 


What  is  an  Interval? 

An  Interval  is  the  difference  or  distance  between  two 
sounds.  It  must  be  remembered;  that  all  Intervals  are 
called  according  to  the  degrees  of  the  Staff,  or  according  to 
the  numbers  of  letters  they  are  distant  from  each  other 


For  instance : 


is  a  Second. 


a  Sharp  Second  :  but  if  the  same  Keys 


are  struck,  and  called 


2S 


the  interval  is  then 


called  a  Third. 

Are  intervals  to  be  reckoned  upwards  or  downwards  ? 

Always  upwards  from  the  Note  named,  unless  the  con- 
trary be  expressed. 

WTiat  is  a  Tone? 

It  consists  of  two  Semitones.  The  Interval  between  F 
and  F:j^,  is  one  Semitone  ;  and  between  Fit  and  G  is  another 
For  Example, 


ttP  INTERVALS. 


29 


1  2 

*  A 


Bonsequently,  the  Interval  between  F  and  G-  i»  a  whole 
Tone.* 

What  is  a  Minor,  or  lesser  Third  ?  ^ 

A  Minor  Third  (sometimes  improperly  called  a  Flat 
Third)  is  three  Semitones  from  the  Note  named.  For  Ex- 
ample, the  Minor  Third  of  A,  must  be  reckoned  thus  : 
from  A  to  Aj^  one  Semitone,  to  B  two^  to  C  three. 

12  3 

AAA 


i 


Hew  many  Semitones  is  a  Major,  or  Greater  Third  from  the  Note  named  ? 

Four ;  (this  Interval  is  sometimes  improperly  called  a 
Sharp  Third.) 

12  3  4 

A  A  A  A 


As  the  Semitone  above  C,  may|be  called  either  C:j:|:  or  D  ,  is  it  immaterial  in 
reckoning  the  Major  Third  of  A,  whether  you  say      or  D^)  ? 

No  :  the  Major  ThM,  of  A,  must  be  called  Cj^  For  ex- 
ample, A,  B,  C,  is  a  Third,  and  J^,  B,  C,  D,  is  a  Fourth! 

Name,  write,  or  play  Minor  and  Major  Thirds  to  A,  B,  C,  D,  E,  F,  G ; 

*  The  Pupil  should  be  required  to  prove  all  Intervals,by  inserting  (or  counttog, 
the  S^itones  in  this  manner. 

t  In  reckoning  Thirds,  or  any  other  Intervals,  the  Pupil  is  recommended  first  to  fix 
upon  the  proper  letter,  and  afterwards  ascertain  (by  counting  the  Semitones) 
whether  the  letter  fixed:  upon,  is  to  be  Natural,  Sharp.  Double  Sharp,  Flat,  or 
Double  Flat.  For  example,  after  having  decided  that  the  Third  of  A  must  be  C,  it 
remains  to  be  proved  which  of  the  five  C's  (  viz  ct],  C#,  C>j<,  C[),  orC^  t>)  is  the 
©ne  required.  That  C,  which  is  three  Semiton3s  from  A  is  the  Minor  Third,  and  fete,: 
whdeh  is  «9ihr  Sk^itones  f!r©m  A  is  the  Major  Thii!4. 


80 


OF  INTERVALS. 


F,G;  to  A:f:|:,B#,C#,D#,E#.  G^;  to  A^,  B^,  Ct>,  D^,  Efc,,  F^,  G^.  (fiet 
Appendix,  part  of  Exercise  IV.) 

How  many  Semitones  is  a  perfect  Fiftli  from  tlie  Note  named? 

Seven : 


1  2  3  4  5  6  7 

A  k  k  k  k  k  k 


but  the  easiest  way  is  to  remember  that  every  Note,  ex- 
cepting  one,  has  a  Fifth  either  Sharp,  Flat,  or  Natural, 
like  itself.  For  Example,  the  Fifth  of  C  is  G,  the  Fifth 
of  C|  is  G#,  the  fifth  of  Cb  is  Gh. 

What  Note  lias  a  Fifth  unlike  itself? 

B  ;  the  fifth  of  which  must  be  raised  a  Semitone  to  make 
itperfect.  For  Example,  the  fifth  of  B  is  F^,  the  fifth 
of  B^  is  F^,  the  fifth  of      is  F. 

Name  or  write  Fifths  to  all  the  Notes,  begmning  with  F,  and  proceeding  always 
a  Fifth  higher. 

F,  C.  G,  D,  A,  E,  F,  Fi,  C^,  G#,         Ag,  Eg,  Bg,  E^, 

C^,  &c. 

Name  Fifths  to  Flats  now,  comraencing  with  ¥[), 

Ft),  cb,  Gb,  Dt,  Ab,  Eb,  Bb,  Eft,  &c. 

By  way  of  Exercise,  now  name  the  Fifths  below,  and  observe  that  in  reckoning 
downwards,  every  Note  has  a  Fifth  like  itself,  excepting  F,  the  Ffth  below  which 
must  be  lowered  a  Semitone.  For  Example,  the  Fifth  below  F  is  B|;),  tlie  Fifth  be- 
low F[^  is  B|^  t^,  the  Fifth  below  F:ji  is  B. 

B,  E,  A,  D,  G,  C,  F,  Bb,  Eb,  Ab,  T>b,  G^,  C\),  Fb,  Bbb,  &c. 

Name  the  Fifths  below  to  the  Sharps,  commencing  with  Brjij:. 

B#,  E#,  A#,  Di,  G#,  C^,  F#,  B%  &c. 

Name  again  the  two  Letters  which  have  Fifths,  not  Sharp,  Flat  or  Natural  llk« 
themselves. 

B,  in  reckoning  Fifths  upwards  •  and  F  in  reckoning 
Fifths  downwards. 

What  is  the  Leadins  Note  ? 


^  INTERVAI^.  S^l 

The  Leading  Xote  is  the  Sharp  Seventh  of  the  Scale,  it 
is  eleven  Semitones  from  the  Xote  named  :  but  the  easiest 
"Way  is  to  reckon  it  one  Semitone  below  the  Octave. 

1  2  3  4  5  6  7  8  9  10 11 

A  A  A  A  A  A  A  A  A  A  A 


you  say  shakp  seventh,  is  the  leading  Xote  always  a  Sharp? 

No.  For  Example,  the  Leading  Note  of  F,  is  Ej  :  the 
Leading  Xote  of  A.  is  Gs^  :  and  the  Leading  Xoteof  Cf), 
is  Bb.* 

As  the  Leading  Xote  is  one  Semitone  below  tlio  Octave,  is  it  immaterial  whether 
the  Leading  Xote  of  A^be  called  GsS  or  A  . 

No  :  for  although  A+)  is  a  Semitone  below  the  Octave, 
it  is  the  eiglitli  letter  or  Degree,  and  the  Leading  Note 
must  be  the  seventh. 

-Name  or  write  the  Leading  Note  of  'A;  of  B,  C,  D,  E,  F,  G;  of 
A%  B^,  C#,  D^,  E#,  F#,  G#;  A^,  st),  ct,  D^,  E^,  pb,  ob- 
(See  Appendix,  part  of  Exercise  lY.) 

Name  or  write  Minor  Thirds,  Major  Thirds,  Fifths  and  Leading 
Notes  to  A,  B,  C,  D,  E,  F,  G;  A^,  Bg,  Ci^,  D^,  E#,  F^,  G^; 
Afc,  Bfc,  Cb,  Bb,  Eb,  Fb,  Gb.    See  Appendix,  Exercise  IV.) 

Name  or  write  Minor  Thirds,  Major  Thirds,  Fifths,  and  Leading 
Notes  to  AP,  B^,  C,  Db,E^,F,  G^;  A*f,  B,  cfc,  D^,  E,  Fb,Gi?; 
A,  BT),  CS,  D,  E^,  F^,  G. 


*  In  naming  Intervals  in  general,  it  is  sufficient  to  name  the  letter,  if  a  Natural 
be  intended.  Thus  it  is  sufficient  to  say  that  the  Minor  Third  of  A  is  C,  and  not  say 
CiiJ ;  but  in  naming  or  M-riting  Leading  Notes,  it  should  be  always  expressed ;  thug 
^he  Leading  Xoteof  is  Afa,  the  Leading: Note  of  is  Dt],  <^c.  This  is  recom- 
mended that  the  Pupil  may  hereafter  more  re^di^y  ^'intJ  t^e  ^.e*'J'njr  Nr»te.»  of  *hf 
3£inor  Keys,  which  are  already  marked  Tvlthaii  Ao?ia^>^  hliaip.  ^x3t,  or  Namra* 


32 


CHAPTER  IX 

OF  TH£  tsIGXATTJRE. 


Eovr  do  you  determine  what  is  the  Toxic,  or  Key  Note  of  a  Piece  of  Musie  ? 

Principally  by  the  Signature,  or  niimber  or  Sliarps  or 
Flats  at  the  beginiLing. 

What  metho<!  have  you  of  discorering  the  Tonic  ? 

Every  Tonic,  or  Key  Note,  is  a  fifth  higher  for  every  ad- 
ditional Sharp,  and  a  fifth  lower  for  every  additional  Flat 
commencing  always  with  C,  which  Key  has  neither  Flat 
nor  Sharp. 

Xame  the  order  of  Keys  with  Sharps 

C  has  no  Sharp,  G  has  one,  D  has  two,  A  has  three,  E 
has  four,  B  has  five,  F-j  has  six,  and  CS:  has  seven. 

Same  the  order  of  Keys  with  Flats. 

C  has  no  Flat.  F  has  one.  has  two,  Ej^  has  three, 
A|^  has  four.       has  five,  Gj^  has  six,  and       has  seven. 

What  Key  has  two  (or  more)  Sharps  (or  Flats,)  &c. 

What  is  the  Signature,  (or  number  of  Sharps  or  Flats)  of  the  Key  A,  T>[), 
Fss.  Ac.  &c.? 

How  many  Keys  hare  the  same  Signature  ? 

There  are  tico  of  each.    For  example,  every  Tonifc,  or 
Key  Note,  has  its  Relative  Minor.* 

How  is  the  Eelative  Minor  of  any  Key  to  be  found? 

The  Eelative  Minor  of  every  Key  is  a  Minor  Third  be- 
low. For  example,  the  Relative  Minor  of  C,  is  A  Minor  ; 
the  Relative  Minor  of  Bf,  is  G  Minor. 

Xame  the  Relative  Mmorof  C.  of  G.  D.  .A .  E.  B.  F^,  C#,  ;  of 
C.  F.  B^.  E|^,  At).  Dt^.  Gf).  and  C^.  (See  Appendix,  part  of 
Exercise  V.) 

In  what  manner  do  you  decide  whether  a  piece  is  in  the  Key  which  is  indicated 
>y  the  Signature,  or  in  its  Eelative  Minor 

By  looking  for  the  Leading  Xote  of  the  Minor  Key  allud- 
ed to  ;  as  the  Leading  Xote  of  every  Minor  Key  is  marked 

♦  The  difference  between  Major  and  Minor  Kevs  will  be  more  fully  ei:plained  | 
hereafter:  the  present  is  only  given  as  vba  snADlssr  way  of  enabimg  a  Pupil  to  I 
ascertain  what  Key  any  piece  of  Music  is  in.  ' 


FORMATION  OF  THE  SCALE. 


S3 


With  an  Accidental  Sharp  or  Natural.    For  example  : 

Judging  from  the  Signature,  that  may  be  either  in  C,  or 
A  Minor  ;  but  as  the  first  G  is  Sharp,  (which  is  the  Leading 
Note  of  A.    the  piece  is  in  the  Key  of  A  Minor 

This  piece  having  one  sharp  at  the  signature  may  be  either 
in  G,  or  E  Minor  ;  but  as  tlie  first  D  is  not  sharp,  it  cannot 
be  in  E  Minor  ;  consequently,  it  is  in  the  Key  of  G. 

Is  this  ail  invariable  Rule  for  ascertaining  what  Key  a  piece  of  Music  is  in? 

No ;  exceptions  to  it  (through  very  seldom)  may  be 
met  with  ;  but  these  can  only  be  understood  by  those  who 
study  Harmony. 

Name  or  write  the  order  of  Keys  with  Sharps  and  Flats ;  also  the  Relative  Minor 
and  the  Leading  Note  of  the  Relative  Minor,  to  each  Key.  (See  Appendix,  Exercise 
V.) 

As  the  Relative  Minor  of  any  Key  is  a  Minor  Third  below,  of  course,  the  Relati"f  e 
Major  of  any  Minor  Keys  is  a  Minor  Third  above;  name,  therefore,  the  Relatiy* 
Major  of  A  Minor,  &c.  &c.  (See  Appendix,Exercise  V. ' 


CHAPTER  X. 

OF  THE  rOl&MATION  OF  THE  SCALE 


. ,  hat  is  a  Tetrachord  ' 

A  Tetrachord  is  composed  of  four  sounds,  placed  at  the 
Intervals  of  two  Tones  and  one  semitone  ;  that  is  to  say,  the 
Interyal  between  the  first  and  second  sound  must  be  a  Tone, 


S4  FORMATION  OF  THE  SCAI.E. 

between  the  second  and  third,  a  Tone ;  and  between  the 
third  and  fourth,  a  semitone. 


Make  Tetrachords.  commencmg  with  F;  A^;  B[):  Y\).  Mark  the  Semitopes 
with  a  slur.   (Sec  Appendix,  Exercise  VI .) 


Make  descending:  Tetrachords.  commenciug  with  A|^ ;  ;  F;  B{^[^,and  o}>- 
serve  that  the  interval  of  the  Semitone  must  still  be  between  ilie  two  highest 
Sounds  of  the  Tetrachord.   (See  Appendix.  Exercise  VII.) 

"V^liat  is  tlie  Diatonic  Scale  ? 

The  Diatonic  Scale  must  consist  of  the  seven  Letters  or 
Degrees,  and  the  Octave  to  the  first,  in  regular  succes&^ou 
proceeding  b}'  Tones  and  Semitones. 

How  do  you  form  the  Diatonic  Scale? 

By  making  two  Tetrachords,  leaving  the  Interval  of  one 
Tone  between  them,  called  the  Tone  of  Disjunction. 

Form  the  Scale  of  C.  Mark  the  Semitones  with  a  slur,  and  separate  the  Tetra- 
chords, at  the  tone  of  Disjunction,  by  a  Bar. 

Lower  Tetrachord.  Upper  Tetrachord. 


It  is  to  be  remarked,  that  the  Semitones  are  between  the 
third  and  fourth,  and  between  the  seventh  and  eighth  of 
the  Scale.  In  all  Major  Keys,  the  ascending  and  de- 
scending Scales  are  composed  of  the  same  Notes. 

Name  every  interval  of  the  foregoing  Scale. 

C,  is  the  Tonic,  or  Key  Note  :  B,  the  second ;  E,  the 
third  ;  F,  the  fourth,  &c.  &c.* 

Make  the  Scale  of  E^ ;  the  ec:ilG  of  G\).   (See  AnnendLx,  Exercise  VU.) 

Maice  the  descending  Scale  of  A'rj :  Fii.   (See  Apn*»ndix,  Exercise  IX.) 

In  what  manner  are  Scales  to  be  formed,  so  as  to  sh^M-  their  connexion  with  each 
•ther,  and  to  show  the  ordei  cf  *he  s?ven  Sharps? 


*  Tlie  Pupil  sljould  be  rc(;v.ired  to  riame  the  luter'^ais  of  every  Scale  tliat  is 
iorMiei. 


FORMATION  OF  THE  SCALE. 


35 


Commence  with  the  scale  of  C,  and  take  the  upper  Te- 
trachord  of  one  scale  for  the  lower  Tetrachord  of  the  next. 
Observe,  thac  every  scale  will  be  a  fifth  higher  than  the 
preceding,  and  will  haA^e  an  additional  sharp. 

Scale  of  G  * 


Scale  of  C. 

Make  Scales  progressively ;  mark  the  first  and  each  succeeding  Sharp  upon  a 
rate  Staff,  until  you  have  found  the  order  of  the  seven  Sharps,  viz  r 


See  Appendix,  Exercise  X. 

After  having  round  the  order  of  Sharps  regularly,  Jjy  making  Scales,  the  Pupil 
will  do  well  to  remember,  that  F  is  the  first,  and  that  each  succeeding  Sharp  is  a 
Fifth  higlier. 

In  what  manner  are  Scales  to  be  formed,  so  as  to  shov/  the  order  of  the  Flats? 

Exactly  the  reverse  of  the  former  ;  that  is  to  say  the 
lowest  Tetrachord  of  one  scale  must  be  taken  for  the  upper 
Tetrachord  of  the  next.  For  Example,  the  lower  Tetra- 
chord of  C,  is  the  upper  one  of  F. 

Scale  of  C. 


Scale  of  Bj^, 


Scale  of  F.f 


•  In  order  to  avoid  the  inconvenience  of  the  Ledger  Lines,  it  will  be  necessar}', 
in  commencing  the  succeeding  Scales,  to  copy  the  Notes  of  the  alternate  Tetre- 
diords  an  Octave  lower. 


t  la  ordjej:  to  avoid  the  inconvenience  of  the  Ledger  Lines,  it  will  be  n-ecessary 


86  FORMATION  OF  THE  SCALE. 


Make  Scales  progressively ;  mark  tbe  first  and  each  succeediug  Flat  upon  sep* 
arated  Staff,  until  you  have  found  the  order  of  the  seven  Flats,  viz  • 


(See  Appendix,  Exercise  XI.) 

After  having  ^onnd  the  order  of  Flats  regularly,  hy  forming  the  Scales,  the  F\i^>H 
v/ill  do  -well  to  remember,  that  B  is  the  first  Flat,  and  that  every  succeeding  Fiat  is 
a  Fifth  lower. 

"WTiat  is  meant  by  the  Dominant  and  Subdominaut  ? 

The  Dominant  signifies  the  fifth  above,  and  the  Sub 
Dominant  the  fifth  below.  Every  Scale  is  intimately  con 
liected  Tvith  the  Scales  of  its  Dominant  and  Subdominant. 

Form  the  Scale  of  with  its  Dominant  and  SuJjdominant. 

WTiat  is  the  difference  between  a  Major  Key,  and  a  Minor  Key  ? 

A  Major  Key  signifies,  that  the  TJurd  of  the  Scale  is  a 
Major  Third  from  the  Tonic  ;  and  a  Minor  Key  signifies, 
that  the  Third  is  a  Minor  Third  from  the  Tonic. 


Kev  of  C  Major,  or  Key  of  C.  Avith  a  Major  Third. 


Key  of  A  Minor,  or  Key  of  A,  with  a  ]Minor  Third, 

^  Gd. 
'^vTiat  13  the  Mhior  Scale  ? 

The  Minor  Scale  consists  of  the  same  number  of  Tones 
and  Semitones  of  the  Major,  (viz  :  five  whole  Tones  and 
two  Semitones,)  but  difierentl}-  disposed;  the  ascending 
also,  differs  from  the  desGending  Scales.  For  example,  A  is 
the  Relative  Minor  of  C,  and  has  neither  Flat  nor  Sharp 
at  the  Signature. 


in  commencing  llie  succeeding  Scales,  to  copy  the  Xotes  of  the  alternate  TctniF« 
chords  au  Octave  higher. 


rOKMATION  OF  THE  SCALE. 


37 


The  Semitones,  it  is  to  he  observed,  are  not  in  the  same 
situations  as  in  the  Major  Scale. 

How  is  the  Minor  Scale  to  be  formed? 

The  easiest  way  is  to  form  it  with  the  same  Flats  or 
Sharps  as  its  Relative  Major,  remembering,  that  the  Sixth 
and  Seventh  of  the  Ascending  Scale  must  each  be  raised 
a  Semitone  by  Accidental  Sharps  or  Naturals.  For  Ex- 
ample, D  is  the  Relative  Minor  of  F  ;  consequently,  must 
have  Bt?  at  the  Signature.  The  sixth  and  seventh,  as 
has  4)een  before  remarked,  are  raised  by  Accidentals,  in 
the  Ascending  Scale. 


Why  are  the  Sixth  and  Seventh  Notes  of  the  Ascending  Minor  Scales  raised  by 
Accidentals  ? 

The  seventh  is  raised,  because  *  every  Ascending  Scale 
must  have  a  Leading  Note  ;  and  the  sixth  is  also  raised, 
that  the  Interval  between  the  sixth  and  seventh  may  not 
be  greater  than  a  Tone  ;  for  the  Diatonic  Scale  must  con- 
sist of  Tones  and  Semitones. 

Kepeat  the  Method  of  making  a  Minor  Scale. 

First  ascertain  what  is  its  Relative  Major ;  secondly, 
write  the  Signature :  thirdly,  write  the  Scale  ascending 
and  descending  ;  fourthly,  raise  the  sixth  and  seventh  of 
.tla^e  ascending  Scale,  each  one  Semitone* 


3b 


FORMATION  OF  THE  SCALE. 


Write  the  Scale  of  D  Minor,  G  Minor,  Minor,  B  Minor,  C  Minor,  &c,  (See 
Appendix,  part  of  Exercise  XII.) 

Write  the  Scale  of  the  Relative  Minor  of  D,  E,  D  ,  C^,  &c.  &c.  (See  Appendix, 
part  of  Exercise  XII.) 

Write  the  Scale  of  the  Relative  Minor  to  C,  G,  D,  A,  E,B,  Y^,  Cij:,  C,  F,  Bt>,Ft>, 
X[)  ,D\),G\),C\).    (See  Appendix,  Exercise  XII.) 

Wliat  is  the  Chromatic  Scale? 

The  Chromatic  Scale  consists  of  Semitones  only. 


i 


-0-^0- 


Is  it  immaterial,  in  writing  the  Chromatic  Scale,  whether  you  write  A[7  or  G^ 
and  ArJ^orBb? 

No  :  the  Signature  must  be  attended  to.  For  example, 
with  three  Flats,  you  must  not  write 

i: 


but  every  Note  should  haA^e  its  proper  situation  on  the 
Staff,  according  to  the  Signature  :  thus, 


This  renders  fewer  Accidentals  necessary. 

B)^  way  of  Exercise,  write  the  same  passage  as  above  with  four  Sharps  fojf  ifif 
Signature. 


FORMATlGiT  01'  THE  SCAI^, 


In  order  to  draw  the  attention  to  the  subject  of  fingering,  it  is 
now  recommended  that.the  pupil  should  write  and  fitger  all  the 
Scales,  commencing  with  the  Scale  of  C,  and  going  on  progres- 
sively as  far  as  the  Scale  of  C#,  and  the  Scale  of  Ct>,  ascending 
and  descending  two  octaves  both  for  the  ri^ht  hand  and  the 
left.  These  should  be  first  written  upon  a  slate,  fingered,  and 
when  corrected  by  the  master,  copied  into  a  book  for  daily  prac- 
tice. The  Major  Scales  should  be  written  on  one  side  of  the 
boo'k,  and  their  relative  Minors  on  the  opposite  page.  The 
proper  Sharps  or  Flats  belonging  to  each  Scale  should  be 
placed  as  the  signature  at  the  beginning,  and  not  as 
they  occur  in  the  Scale,  excepting  of  course  the  sixth  and  sev- 
enth of  the  Mioor  Scales,  which  require  raising  by  accidentals  in 
the  ascending,  and  contradicting  (on  account  of  being  written 
without  Bars)  in  the  descending  Scale  (See  Appendix,  pages  55 
and  56.) 

In  fingering  the  Scales,  the  following  remarks  may  be  found 
useful. 

Thb  fingering  is  only  to  be  marked  upon  the  first  note  of  the 
Scale,  and  where  the  thumb  is  to  be  passed  under  the  fingers,  or 
the  fingers  over  ihe  thumb. 

In  the  ascending  Scale  of  two  octaves  for  the  right  hand— com- 
mence with  the  thumb — pass  the  thumb  under  the  second  finger 
— next  under  the  third  finger,  ^nd  again  under  the  second, 
which  will  prepare  sufficient  fingei  s  to  ascend  to  the  top  of  the  Scale. 

In  descending,  commence  wilh  the  fourth  finger — pass  the 
second  finger  over  the  thumb — next  pass  the  third  finger  over,and 
lastly  the  second  finger  over. 

When  the  Scale  commences  wi^h  a  Black  Key,  commence  with 
the  first  finger,  and  follow  the  foregoing  rule  as  closely  as  the 
situation  of  the  Black  Keys  will  admit  of;  obs(*rving  that  neither 
the  thumb  nor  the  fourth  finge*:  must  be  placed  upon  a  Black 
Key  in  fingering  a  Scale. 

In  the  ascending  Scale  of  two  octaves  for  the  left  hand  com- 
mence with  the  fourth  finger — pass  the  second  finger  over  the 
thumb — next  pass  the  third  finger,  and  lastly  the  second  finger. 

In  descending  commence  with  the  thumb — pass  the  thumb 
under  the  second  finger,  next  under  the  third  finger,  and  lastly 
under  the  second  finger. 

The  situation  of  the  Black  Keys  will  render  it  necessary  to 
commence  in  some.  Scaies  with  the  third,  second,  or  first  finger, 
instead  of  the  fourth,  out  the  foregoing  rule  is  to  be  followed  as 
closely  as  circumstances  will  admit  of.  (See  Appendix,  pages  55 
and  56.) 

No  scale  ^hou^d  be  practiced  till  it  has  been  inspected  by  the 
Master. 

Nothing  /^an  be  more  generally  useful  than  the  daily  practice  of 
^he  Scales,  at  the  same  time  the  greatest  attention  is  requisite  on 
th'^  part  of  the  pupil  to  the  positon  and  steadiness  of  the  hand, 
as  well  as  to  the  clearness  and  connexion  of  the  Notes-  (See 
•   Chap.  I V^.)   


40 

CHAPTER  XI. 


OF  VARIOUS  CHARACTERS  USED  IN  MUSIC 


What  is  a  Double  Sharp?  ^ 

A  Double  Sharp  raises 

What  is  a  Double  Flat?  \)  \) 

A  Double  Flat  lowers 


a  Note  two  Semitones. 


a  Note  two  Semitones. 


How  is  a  Single  Sharp  or  Flat  replaced  after  a  Double  one  ? 

By  means  of  a  Natural  and  Sharp,  or  a  Natural  and  Flat. 


m 


As  a  Dot  after  a  Note  makes  it  half  as  long  again,  what  is  the  use  of  the  second 
Dot. 

The  second  Dot  is  equal  to  half  the  first ;  consequently 
a  Quarter  Note  with  two  Dots,  is  equal  to  a  Quarter, 
Eighth  and  Sixteenth. 


is  equal  to 


t; 


As  SEMI  signifies  half,  and  breve  short,  why  is  the  longest  Note  called  a  Semi- 
breve. 

A  Semibreve  is  the  longest  in  present  use  but  there 
were  two  others  formerly  called  a 


Long 


and  a  Breve 


What  proportion  does  a  Semibreve  bear  to  them 

A  Long  is  equal  to  two  Breves,  or  four  Semibreves ; 
consequently,  a  Semibreve  is  equal  to  half  a  Breve,  or  a 
quarter  of  a  Long. 

Is  a  Tliirty-Second  the  shortest  Note  ? 


TARIOUS  CHARACTERS,  &C 


41 


"No :  there  is  one  called  a  half  Thirty-Second,  made 

— ^-  -it- 

thus,  ^~and  its  Rests  thus,  ^  sixty-four  of  these 
are  equal  to  one  Semibreve. 

Ih  what  manner  is  a  whole  Bar  Rest  marked  ? 

In  the  same  manner  as  a  Semibreve  Rest,  be  the  value 
of  the  Bar  what  it  may. 


In  what  manner  are  Rests  for  more  than  one  Bar  marked  ? 

A  Rest  for  two  Bars  is  made  from  one  line  to  the  next ; 


for  four  Bars,  from  one  line  to  the  next  but  one  ; 


J     but  a  Figure,  expressive  of  the  number  of  Bars, 


IS 


6 


frequently  placed  over ; 


and  when  the  number  is 


very  great,  Figures  only  are  used, 


In  what  manner  do  yoi^  c^unt  several  Bars  RestV 

By  naming  the  number,  instead  of  the  word  One  on  the 
first  of  each  Bar.    For  example. 


f  3  >f 

-  1 — ™- 

These  five  Bars'  Rests  should  be  counted 

1?  2,  3,    2^  2,  3,   3?  2,  3,   4^  2,  3,        2,  3. 

instead  of  always  one,  two*  three^ 


42 


VARIOUS  CHARACTEBa 


'  What  is  Melody? 

A  Melody  is  a  succession  of  sounds. 

What  is  Harmony  ? 

A  combination  of  Sounds. 

Are  tliere  any  more  Clefs  than  the  Treble  and  Bass  ? 

11  11 

Yes  :  the  C  Clef.     gj  This  Clef  is  occasionally  placed 

upon  either  of  the  four  lowest  lines  of  the  Staff,  and  gives 
the  name  of  C  to  all  Notes  on  the  same  line  as  itself,  the 
other  Notes  are,  of  course,  named  by  degrees  from  it ;  its 
situation  on  the  Piano-Forte  is  the  middle  C. 

When  this  Clef  is  placed  upon  the  first  line,  it  is  called 


the  Soprano  Clef ;  when  upon  the  second  line,  the 
::::Mezzo  Soprano  Clef,  when  upon  the  third  line  the 


c 


Alto,  or  Yiola  Clef;      "~^~"and  when  upon  the  fourth 


line  the  l^IZ^Tenor  Clef. 


Name  all  the  Degrees  of  the  Staff,  according  to  these  Clefs. 

Do  the  Treble  and  Bass  Clefs  ever  cha:ige  their  situations  on  the  Staff? 

Yes,  in  very  old  music  :  but  all  Notes  on  the  line  with 
the  Treble  Clef,  are  called  G,  and  all  Notes  on  the  line 
with  the  Bass  Clef,  are  called  F. 

Give  Examples  according  to  the  following  Clefs. 


1 




O  F 

"Wbat  is  the  difference  between  a  Chromatic  and  a  Diatonic  Semitoiae 


USED  IN  MUSIC. 


45 


A  Chromatic  Semitone  remains  on  the  same  degree  of  the 


Staff,  and  is  called  by  the  same  letter,  as 


whereas  a  Diatonic  Semitone  changes  its  degrees  and  name 


thus  : 


Miat  is  the  meaning  of  Enharmonic  ? 

The  harmonic  Diesis,  or  Quarter  Tone,  is  the  difference 
Detween  two  following  Notes,  one  of  which  is  raised,  and 
the  other  lowered  a  Chromatic  Semitone.  This  interval 
cannot  be  expressed  on  the  Piano-Forte,  from  its  construc- 
tion ;  but  the  same  Ke^^s  must  be  struck  for  the  Sharp  of 
the  lowest  Note,  and  the  Flat  of  the  highest. 


i 

r — ^ 

CHAPTER  XII. 

OF  THE  COMMON  TERMS  RELATING  TO  TIME,  &€. 


Explain  some  of  the  words  which  are  prefixed  to  pieces  of  Music,  to  express  the 
Time  and  Manner  they  are  to  be  performed  in. 

They  are  very  indefinite  ;  but  the  following  are  the  most 
common. 

GRAVE   In  the  slowest  time. 

ADAGIO   Very  slow. 

LARGO   Slow. 

LARGHETTO   Rather  less  slow  than  Largo. 

MODERATO   In  moderate  time. 

CANTABILE   In  a  singing  and  a  graceful  style. 

ANDANTE   In  a  marked  and  distinct  manner. 

AND  ANTING   In  a  flowing  style. 

PASTORALE   In  a  pastoral  style. 

M^STOSO   Majestically. 

ALLEGRO   Qaick. 

ALLEGRETTO   Not  so  quick  as  Allegro. 

VIVACE   Lively. 

PRESTO    .......  Very  quick 

PRESTISSIMO  .    .    .    .    ,  A3  auick  as  possible. 


APPENDIX. 


In  conclusion,  the  Author  oegs  to  observe,  he  does  not 
wish  it  to  be  understood,  that  he  conceives  the  foregoing 
pages  to  contain  all  that  is  necessary  a  Pupil  should  know  ; 
many  things,  no  doubt,  have  been  inadvertently,  and  oth- 
ers have  been  intentioually  omitted,  as  it  is  his  opinion, 
that  persons  frequently  fail  entirely  of  attaining  their 
object,  by  attempting  too  much  :  he  only  hopes  that  those 
Pupils  who  thoroughl}'  understand  what  he  has  endeavored 
to  communicate  in  this  Book,  will  not  be  considered  the 
most  deficient  among  the  numerous  Students  of  the  Piano- 
Forte. 


APPENDIX. 


EXERCISE  I. 
Kame  the  Kej-s  of  tlie  Piano-Forte. 

C,  C#  or  Db,  D,  D#  or  Eb,  F,  E,  F#  or  Qb,  G,  G#  or  Ab, 
A,  A#  or  Bb,  B,  C.  ^ 


EXERCISE  II. 

T  F^i:  (or  B^,  C^,  &c.        a  Black  Key,  or  a  Wliite  one? 

N.  B.  In  the  following  Example,  the  Black  Notes  are  used  to  express  the  Black 
Keys,  and  the  White  Notes  the  A\niite  Keys. 


i 


EXERCISE  III. 


4$ 


^  Turn  upon  A 
B 

C 

"  1) 
E 

G 

'  A# 

"  Bb 
C# 
-  I)# 
"  Eb 
^'  Fb 

"  Gb 


TURNS. 

must  be  made  with  B,  A,  G^,  A. 

C*B,  A#,  B. 
D,  C,  B,  C. 

F,  E,  D:i|:,  E. 

G,  F,  E,  F. 

A,  G,  G. 

B,  A#,  G-x<,  A#. 

C,  Bb  A  Bb. 
D  C#  B#  C^. 
E  D#  D:j:|:. 
F  Eb  D  Eb. 
G,  Fb,  Eb,  Fb. 
A,  Gb  F  Gb. 


EXERCISE  IV. 


At  B 


A#  B#  C#  D# 


»  Ine  Signature  (viz :  the  Sharps  or  Flats  at  the  beghming  of  the  piece  of  Mu- 
s\e,)  will  determine  whether  the  upper  Note  of  the  Turn  is  to  be  Sharp,  Flat  or 
Natural ;  therefor©  in  the  present  Exercise,  the  letter  only  of  the  uppeir  i«i  y>.fce  iie^ 
be  nam«d. 

^  The  intervals  are  to  be  reckoned  from  these  Letters. 


46  APPENDIX. 


EXERCISE  lY.— Continued. 


E#   F#    G#  Ab  Bb    Cb     Db     Eb    Fb  Gb 


EXERCISE  V. 
The  rel.  Minor  of  C   is  A  Minor :  the  leading  Note  of  A  is  GJ^ 


a 

G  is  E  Minor:  " 

"       "  D  is  B   Minor    "  " 

-       -  A# 

a 

"       "  A  is  E#  Minor     "  " 

"       "  E# 

"  E  is  C:H=  Minor  " 

-       -  B# 

i  i 

"       "  B  is  G#  Minor 

E^ 

"r#isD#  Minor  " 

"      .  " 

i  i 

C# is  A# Minor  " 

G^ 

"  C  is  A   Minor  " 

"      "  G# 

a 

"  F  is  D  Minor  " 

u     .  c# 

ii 

"  BbisG  Minor  " 

"  F# 

a 

"  Eb  is  C  Minor  " 

b!^ 

i  i 

"  Ab  is  E  Minor     "  " 

-  Ebl 

"          Db  is  Bb  Minor  " 

-  Ab 

"Gb  is  Eb  Minor  " 

"       "  C  b  i s  A  b  Minor    ' '  " 

Gkj. 

APPENDIX. 


47 


V^^'heii  the  Pupil  is  thoroughly  acquainted  with  the  fore- 
going table,  the  question  should  be  reversed,  thus  • 

What  is  the  relative  Major  of  A  Minor,  &c,  &c.  ? 

Or,  in  other  words, 

Of  what  is  A  Minor,  the  relative? 


EXERCISE  Yl.—TetracJiords. 


i 


EXERCISE  VII. —  Descendincj  TetracJiords. 


1 


t 


ZI22: 


2^ 


EXERCISE  Yin,— Scales, 




W  if^  ^ 

— It  II 

2s: 


EXERCISE  IX. — Descendltig  Scales. 
9^-  ^ 


2S 


9 


1 


APPENDIX. 


APPENDIX. 


r- 


APPENDIX. 


exercisp:  XII. 

MINOR  SCALES. 


A  Minor,  relative  o-' v/. 


E  Minor,  relative  of  G. 


B  Minor,  relative  of  I). 


F  Minor,  relative  of  A. 


Minor,  relative  of  B. 


APPENDIX.  ftl 

EXERCISE  XIL— Continued. 

MINOK  SCALES. 


D#  Minor,  relative  of  F^. 


A  Minor,  relative  of  C. 


D  Minor,  relative  of  F. 


0i 

G  Minor,  relative  of  Bb. 


C  Minor,  relative  of  Efj. 


82 


APPENDIX. 


EXERCISE  XII.-'-CoNTiNUED. 

MIXOR  SCALES. 
"F  Minor,  relative  of  Ab. 


Bh  Minor,  relative  of  Di 


Eb  Minor,  relative  of  G[j. 


Ajj  Minor,  relative  of  Cb. 


ATTwmnX. 


EXERCISE  TJH, 


A  diatonic  semitone 

A  diatonic  senaitOMS 

above  A    is  Bj^ 

below  A 

a 

B    is  C 

it 

a 

B 

isA# 

i(  a 

a 

C    is  Db 

a 

a 

ii 

C 

is  B 

i<  a 

iC 

D    is  Eb 

i  i 

a 

it 

D 

is  C# 

Ji  a 

a 

E    is  E 

tt 

it 

tt 

E 

isl># 

it  a 

ti 

"  F    is  Gb 

ti 

tt 

it 

F 

is  E 

a  a 

ti 

#    is  Ab 

tt 

tt 

ti 

G 

is  E# 

IC  ti 

it 

A#  is  B 

li 

a 

it 

A# 

is  G^ 

a  li 

a 

B#  is  C# 

it 

a 

a 

^# 

is 

ti  it 

ti 

C#  is  D 

ti 

a 

a 

C# 

is  B# 

a  « 

a 

D#  isE 

a 

ti 

a 

D# 

is  C^- 

it  ti 

E#  is  Ei): 

a 

it 

it 

E# 

is 

ii  ii 

a 

E#  is  G 

a 

ii 

it 

E# 

is  E# 

iC  ti 

G#  is  A 

a 

it 

ii 

G# 

is  E^ 

a 

a 

Ab  is  Bbb 

it 

ii 

ii 

Ab 

is  G 

ti 

it 

Bb  is  Cb 

ii 

ii 

ii- 

Bb 

is  A 

it  a 

a 

Cb  is  Dbb 

a 

ti 

ii 

Cb 

isBb 

a  it 

it 

is  Ebb 

a 

ii 

ii 

Pb 

is  C 

<>& 

it 

Eb  is  Eb 

ti 

it 

tt 

Eb 

is  D 

C» 

is  Gbb 

(C 

ii 

Fb 

is  W$ 

m 

s» 

1 

U 

56 


APPENDIX. 


m 
p 

I— I 

O 

O 


-51 

o 
o 


0%1 


I  1 


4 

•141 


I 


1  X 


X  QLi 


1  1 


%iJ_L 


i  I 


*1 


1% 

X 


c 


X 


rrri 
I  ii'i^x 


I  !  J 


1  1% 


•'•I 


The  foregoing  will  be  sufficient  to  show  the  general  form  of  writing 
the  Scales,  the  number  of  finger-marks  which  are  requisite :  the  ac- 
cidentals wliich  are  required  in  the  Elinor  Scales — alsOy  one  instance 
in  which  the  Scale  for  the  left  hand  cannot  be  commenced  irith  the 
fourth  finger.  _  _ 


GUIDE  TO  PRACTICE. 


INTKODUCTION. 

The  course  of  practice  recommended  in  the  following  remarks 
cannot  be  expected  to  coincide  with  the  views  of  every  instructor, 
or  be  equally  applicable  to  all  pupils  ;  the  point  suu^hc  to  be 
established  is,  that  the  pupil  should  have  a  regular  system  to 
by,  and  in  whatever  particular  this  may  differ  from  the  views  of 
the  teacher  upon  the  various  points  connected  with  the  mode  of 
practicing,  he  can  easily  point  out  the  difi'trence  he  wishes  to  be 
made  ;  at  all  events,  if  this  work  serve  no  other  purpose,  it  will 
have  the  effect  of  bringing  the  subject  of  practice  mure  particu- 
larly into  notice,  and,  ia  default  of  better  instructions,  be  at  least 
s(  me  guide  to  the  pupil,  and  prevent  much  of  that  waste  of  time 
Wiiioh  daily  occurs  with  those  who  even  with  the  greatest  diligence 
do  not  combine  method.  It  may  be  said  that  every  instructor  is 
the  best  judge,  and  gives  his  own  directions  as  to  what  and  how 
his  pupil  shall  practice.  To  a  certain  extent,  this  is  true;  but 
upon  the  principle  that  "  everybody  s  business  is  nobody's  busi- 
ness," it  may  frequently  be  left  undone  ;  besides,  if  it  be  done,  a 
master  cannot  constantly  repeat  the  same  thing,  and  pupils  do 
sometimes  forget. 

No  master  disputes  the  utility  of  the  daily  practice  of  Exercises 
and  Scales,  but  many  pupils  have  a  great  disinclination  thereto; 
and,  though  it  is  not  to  be  doubtfdthat  every  one  will  practice 
them  to  the  extent  he  may  be  desired,  still,  as  that  which  is  done 
willingly,  and  with  a  conviction  of  its  being  conducive  to  im- 
provement, will  always  be  not  only  more  pleasant,  but  much 
more  satisfactory  in  its  results,  than  that  which  is  done  as  a  mere 
task.  The  author  assures  all  pupils  that  more  improvement  will  be 
made  in  one  mouth  by  those  who  practice  them  daily,  than  will 
be  made  in  six  or  even  twelve  months  by  those  who  do  not. 

The  greatest  performers  never  discontinue  the  practice  of 
Scales  and  Exercises. 

It  is  scarcely  necessary  to  remark  that  practice,  to  be  eil&cient, 
must  be  upon  a  good  principle.  Practice  upon  a  bad  princ  ple^ 
or,  what  is  more  common,  without  any  principle  at  ail,  will  but 
confirm  error,  and  render  it  more  difficult  to  conquer  It  is, 
therefore,  essential  to  prevent  any  bad  habit  from  being  acquired, 
and  the  very  first  time  a  child  puts  its  fingers  on  the  keys,  it 
should  l>e  taueht  to  do  so  in  a  proper  manner.  This  opinion  is 
much  at  variance  with  common  practice ;  which  is,  to  let  a  child 
learn  ani/  how  at  first,  and,  when  it  has  contracted  all  sonsoi 
bad  habits,  to  give  it  a  good  master,  who  has  not  only  to  teach, 


58 


GUIDE  TO  PRACTICE, 


but  also  to  unteach,  if,  indeed,  that  can  ever  be  done.  A  child's 
learning  anything  may  be  compared  to  the  winding  of  a  skein  of 
thread,  which,  if  it  have  never  been  tangled,  may  be  easily, 
though  perhaps  in  some  instances  slowly,  wound  ;  but  if  it  be 
tangledj  Lot  only  will  the  trouble  be  increased  ten-fold,  but  the 
chances  are  that  it  will  be  broken  in  many  places,  and  conse- 
quently never  perfect.  Some  pupils  have  naturally,  that  is  to 
say,  without  any  instruction  as  to  how  it  should  be  done,  a  better 
mode  of  touching  the  keys  than  others,  as  some  persons  are  natu- 
rally  more  or  less  graceful  in  all  they  do,  while  others  are  more 
or  less  awkward:  but  it  is  not  sufficient  that  anything  be  well 
done  ;  it  must  be  done  well  upon  principle.  Those  who  have 
what  may  be  termed  a  natural  good  touch,  will  have  less  difficulty 
to  contend  with';  but  they  must  not  be  allowed  to  be  ignorant  of 
the  principle  upon  which  they  do  well.  It  is  not,  however,  in  the 
province  of  tl  ese  remarks  to  give  a  detailed  explanation  of  the 
principle  upon  which  different  passages  should  be  played;  this 
can  only  be  properly  and  progressively  done  by  a  good  instructor. 

One  thing  cannot  be  too  strongly  impressed  on  the  mind  of  the 
pupil,  which  is  the  necessity  of  patience  and  perseverance  in 
thoroughly  understanding  and  playing  correctly,  though  perhaps 
not  fluently,  the  early  exercises,  as  upoa  these  will  depend  all  the 
future  progress.  If  there  be  but  two  notes  to  be  played,  still 
those  two  notes  must  be  well  done,  and  it  is  not  sufficient  that  the 
pupil  be  able  to  do  them  well  once  or  twice,  but  he  must  practice 
doing  so  ;  and  the  rule  for  going  forward  must  never  be  when 
any  thing  has  been  played  a  certain  number  of  times,  or  when  it 
is  merely  correct,  but  when,  by  repetition,  it  has  become  habitual 
to  do  it  well.  As  an  incitement  to  perseverance,  it  may  be 
remarked,  that  those  who  understand  and  do  play  even  two  notes 
well,  may  soon,  with  the  same  application,  play  four,  and  so  on; 
whereas  those  who  pass  over  the  lirst  two  notes,  or  anything  else, 
without  being  thoroughly  understood,  and  sufficiently  practiced, 
will  never  make  any  satisfactory  progress. 

For  the  sake  of  giving  precise  directions,  it  has  been  assumed 
that  every  pupil  should  practice  two  hours  a  day;  and  it  may  be 
with  truth  said,  that  those  who  expect  to  make  any  efficient  pro- 
gress should  do  this  at  the  least.  Those  who  adhere  strictly  to 
the  directions  for  the  two  hours  may,  it  is  conceived,  from  the 
habits  acquired  thereby,  be  safely  ^^ft  to  their  own  discretion  for 
any  additional  time. 

ON  PEACTICE  IN  GENERAL. 

Fixed  hours  should  be  appointed  for  practice.  It  is  not  enouga 
to  say  that  a  pupil  should  practice  two  or  more  hours  a  day,  but 
/he  time  for  so  doing  should  be  fixed;  every  day's  experience 
shows  that  whatever  is  left  t(7  be  done  at  an  uncertain  time  is  fre- 
quently left  undone,  or  at  best  done  but  imperfectly. 

The  first  portion  of  every  hou'^'s  practice  should  be  devoted  to 
Exercises  or  Scales. 


GWIDE  TO  PEACTIOB. 


59 


Practicing  a  passage,  exercise,  or  scale,  does  not  mean  playing 
it  throujih  once,  twice,  or  thrice,  but  a  careful  repetition  of  it 
twenty  or  thirty  times  successively  ;  and  the  practice  of  the  same 
should  be  resumed  daily,  till  it  be  executed  with  correctness  and 
precision,  and  with  as  much  fluency  as  the  progress  of  the  pupil 
will  admit. 

The  degree  of  rapidity  with  which  anything  is  played  may  be 
conceded  to  the  age  or  ability  of  the  pupil  ;  but  respecting  the 
principle  upon  which  it  is  played,  there  must  be  no  compromise. 
A  pupil,  therefore,  must  not  conclude  anything  to  be  sufficiently 
practiced  until 

Not  one  wrong  key  is  struck. 

Not  one  wrong  finger  used. 

Not  one  finger  down  when  it  ought  to  be  up,  or  up  when  ic 
ought  to  be  down. 

The  hand  held  in  a  proper  position  throughout. 

The  piece  or  passage  played  in  proportion,  and  without  looking 
at  the  fingers. 

Nothing  which  fails  in  any  of  these  particulars  can  be  termod 
correctly  Hone. 

EULES  TO  BE  OBSERVED  AT  PRACTICE. 

I.  Never  pass  a  mistake. 

Never  pass  over  a  mistake,  but  whenever  a  wrong  key  is  struck, 
a  wrong  finger  used,  if  a  finger  be  down  or  up  when  it  ought  to 
be  otherwise,  or  if  the  passage  be  not  played  in  proportion,  re- 
commence the  passage,  and  continue  to  do  so  till  it  be  done  cor- 
rectly. Passing  on,  intending  to  rectify  the  mistake  at  another 
time,  will  only  serve  to  confirm  the  error,  and  render  it  ultimately 
more  difficult  to  conquer. 

II.  Practice  slowly  at  first. 

Avoiding  mistakes  is  better  than  having  them  to  rectify. 
Practice,  therefore,  slowly  at  first,  and  when  the  passage  is  done 
correctly,  increase  the  rapidity  to  the  desired  degree.  It  is  cer- 
tain that  that  which  cannot  be  done  correctly  slow,  will  not  be 
correct  when  done  fast.  The  rapidity  may  render  the  incorrect- 
ness less  observable,  but  it  will  not  be  the  less  bad. 

III.  Ascertain  the  nature  of  the  difficulty. 

When  any  passage  is  found  to  be  difficult,  the  first  point  is  to 
ascertain  exactly  w^iere,  and  in  what  particular^  the  error  or  the 
difficulty  consists.  Suppose,  for  instance,  in  a  passage  of  twenty 
notes,  the  difficulty  lies  in  the  execution  of  two  or  three  notes 
only  ;  in  that  case,  practice  those  two  or  three  notes  till  they  be 
done  with  readiness,  and  then  practice  the  whole  passage. 


60 


GUIDE  TO  PRACTICE, 


lY.  Practice  with  each  hand  separately. 

It  may  be  sometimes  advisable  to  practice  a  passage  with  each 
hand  separately.  It  may  be  relied  on,  that  if  a  passage  be  not 
played  correctly  with  oae  hand  at  a  time,  it  will  not  be  well  done 
with  both  hands  together. 

V.  Select  passages  for  practice. 

As  all  parts  of  a  piece  will  not  require  the  same  degree  of 
practice,  select  those  parts  in  which  there  is  any  difficulty,  and 
practice  them.  Much  time  is  saved  by  this  method.  For  exam- 
ple, suppose,  in  a  page  of  forty  bars,  there  are  two  which  will 
require  practicing  fifty  times,  or  more,  to  do  correctly  ;  it  is  ob- 
vious that  it  will  be  less  trouble,  and  take  less  time,  to  practice 
the  two  bars  fifty  times  than  the  whole  page  fifty  times  ;  besides 
which,  any  difficulty  will  be  much  sooner  surmounted  by  being 
played  fifty  times  successively,  than  if  it  be  played  the  same 
number  of  times,  with  forty  or  fifty  bars  intervening  between 
each  repetition. 

YI.  Practice  in  small  portions. 

When  a  piece  contains  no  decided  comparatively  difficult  pas- 
sage requiring;  to  be  practiced  as  above,  still  it  is  desirable  to 
practice  it  in  small  portions,  rather  than  straight  through  from 
the  beginning  to  the  end.  For  instance,  suppose  two  pages  con- 
taining eighty  bars  are  to  be  practiced  ;  the  pupil  will  be  much 
more  familiarized  with  the  piece  by  playing  portions  of  eight  or 
sixteen  bars,  as  may  be  convenient,  each  twenty  times,  than  if  he 
played  the  whole  eighty  bars  straight  through  twenty  times. 

"VTI.  Caution  required  in  selecting  passages. 

In  selectiHs:  passagces  for  practice,  it  is  desirable  not  to  begin 
or  end  always  at  the  same  place,  unless  it  be  a  completely 
detached  passage  ;  otherwise  a  habit  cf  hesitating  or  stopping  at 
a  particular  place  will  be  contracted,  which  it  may  be  afterwards 
difficult  to  overcome. 

VIII.  Extend  and  reverse  passages. 

It  is  frequently  useful  to  lengthen  or  extend  a  passage  to  a 
greater  compass  than  may  be  required  in  the  piece,  or,  in  tact,  to 
make  an  exercise  of  it.  For  example,  if  an  arpeggio  extend- 
ing two  octaves  require  practice,  it  will  be  good  policy  to  practice 
it  to  the  extent  of  three  or  four  octaves. 

It  is  also  desirable,  when  the  passage  will  admit  of  it,  to  prae- 
tice  both  ascending  and  descending,  although  only  one  way  may 
be  required  in  the  piece. 

IX.  Rfpr-ai  correctly  six  successive  times  at  least. 

No  pas=?age  that  has  been  barlly  played  should  be  considered 
as  sufficiently  practiced  when  done  once  or  twice  right  ,  six  suc- 
cessive times,  without  error,  is  the  least  that  can  be  depended  oo. 


GUIDE  TO  PBACnOE, 


61 


If,  on  resuming  the  practice  of  the  same  on  another  occasion, 
it  should  be  incorrect,  (as  will  frequently  be  the  case,)  it  should 
be  practiced  till  it  be  done  twelve  successive  times  without 
error,  and  so  on  till  it  can  be,  with  certainty,  played  correctly. 

X.  Practice  piece  as  a  whole. 

After  practicing  in  detail  as  above  described,  the  piece  must 
be  carefully  practiced  as  a  whole  from  beginning  to  end.  If,  in 
doing  this,  any  mistake  should  occur,  the  best  remedy  is  to  re- 
commence the  whole  page  or  two,  (nothing  fixes  the  attention  so 
much  as  this,)  and  continue  to  do  so  until 

Not  one  wrong  key  be  struck. 

Not  one  wrong  fioger  used. 

Not  one  finger  be  down  or  up  when  it  ought  to  be  otherwise 
and  until  the  whole  be  played  through  in  proportion.  * 

XI.  A fler  correctness  practice  for  fluency. 

Practice,  besides  being  necessary  for  insuring  correctness  in 
any  piece  or  passage,  is  afterwards  requisite  for  the  purpose  of 
gaining  more  fluency  or  more  finish  in  tiie  manner  of  executing  it. 

XII.  Practice  till  perfect. 

Lastly,  it  may  not  be  amiss  to  remark,  that  although  it  is  desir- 
able, both  by  diligence  and  method,  to  accomplish  as  much  as 
possible  in  the  shortest  time,  still  a  pupil  should  remember  that, 
when  any  piece  is  played,  nobody  inquires  how  often  it  has  been 
practiced,  or  how  long  the  performer  has  been  learning  it — the 
only  point  is,  whether  it  be  well  or  ill  done.  No  stated  number 
of  times  can,  therefore,  be  fixed  upon;  but  a  piece  should  be 
practiced  till  it  be  perfect. 

POSITION  OF  THE  HAND  AND  AKM. 

The  hand  and  fore- arm  should  be  in  a  straight  line  from  the 
elbow  to  the  middle  joint  of  the  second  finger,  keeping  the  wrist 
neither  raised  or  depressed.  The  fingers  are  to  be  kept  moder- 
ately bent,  and  apa.rt,  (directing  particular  attention  to  the  second 
and  third  fingers,  which  are  more  apt  to  be  too  close  together 
than  the  others,)  so  that  one  finger  may  be  over  the  centre  of 
each  key;  and  the  thumb  must  always  be  kept  over  a  key.  It  is 
of  the  high/est  importance  to  attend  to  the  keeping  of  each  finger 
over  the  centre  of  a  key,  for  many  persons  notwithstanding  they 
may  encompass  five  keys  from  the  thumb  to  the  little  finger,  by 
keeping  the  other  fing^ers  at  unequal  distances,  play  indistinctly. 
For  example,  supposing  the  right  thumb  to  play  C,  instead  of 
striking  F  distinctly  with  the  third  finger,  they  strike  both  E  and 
F  with  the  third  finger.  Errors  of  this  sort  are  not  at  all  uncom- 
mon, particularly  in  arpeggio  passages,  and  should  be  guarded 
against  from  the  first,  by  acquiring  a  habit  of  keeping  each  fin- 
ger over  the  centre  of  a  key. 


62 


GUIDE   TO  PRACTICE. 


OF  THE  MANNER  OF  TOUCHING  THE  KEYS,  OR  PUT'= 
TES'G  DOWN  AND  RAISING  THE  FINGERS. 

This  is  a  point  not  generally  sufficiently  attended  to,  but  it  is 
one  of  the  greatest  importance,  and  should  be  thoroughly  under- 
stood and  put  in  practice  at  first:  for  the  want  of  a  proper  man- 
ner of  patting  down  and  raising  the  fingers  throws  great  addi- 
tional difficulty  in  the  execution  of  everything  that  is  played,  and 
not  only  adds  difficulty,  but  gives  a  bad  effect,  however  perfect 
the  performance  may  be  in  all  other  respects-  If  the  attention 
be  strictly  directed  to  this  at  first,  the  proper  manner  of  putting 
down  and  raising  the  fingers  will  become  a  liahit.  and  will  cause 
no  trouble  afterwards;  whereas,  if  this  be  neglected  at  first,  and 
the  pupil  be  allowed  to  practice  upon  a  bad  or  upon  no  fixed 
principle,  bad  habits  will  be  acquired,  and  become  more  or  less 
confirmed,  in  proportion  to  the  degree  of  practice,  and  which,  if 
ever  they  be  overcome,  must  be  so  at  the  expense  cf  much  labor 
and  time.  It  is,  therefore,  essential  to  prevent  any  bad  habit 
being  contracted. 

The  rule  is  simply  to.  hold  the  finger  down  on  one  key  till  the 
next  is  down,  but  not  longer  :  or.  as  it  may  be  otherwise  ex- 
pressed.— 

Two  keys  which  are  to  be  played  successively  must  not  beheld 
down  together,  neither  must  one  be  raised  till  the  other  is  down. 
In  order  to  direct  the  attention  particularly  to  this  point,  it  may 
be  as  well  to  remark,  that  if  the  fini-erbe  held  down  too  long  after 
the  following  key  is  struck,  it  may  be  so  in  a  greater  or  lesser  de- 
gree. For  instance,  suppose  C,  D.  are  to  be  played  successively: 
C  may  be  held  during  the  whole,  or  half,  or  a  quarter  of  the  time 
after  D  is  down,  either  of  which  is  wrong,  though  not  equally  so. 
It  is  not  unusual  with  those  who  have  a  bad  touch,  when  five  suc- 
cessive keys,  are  played,  to  find  the  whole  five  down  at  once;  so 
that  the  first  is  down  four  times  longer  than  it  ought  to  be,  and 
the  others  proportionably  so- 

It  may  be  remarked  that  those  who  hold  the  fingers  down  too 
much  in  some  places,  generally  r  lise  them  too  soon  in  others. 
Raising  the  finger  from  one  key  before  the  next  is  aown  must 
equally,  as  a  general  rule,  be  guarded  against,  as  it  gives  a  broken 
and  disjointed  effect. 

Let  it  not,  however,  be  conceived  that  either  holding  one  key 
down  after  the  next  is  struck,  or  taking  one  up  before  the  next  be 
down,  is  wrong,  if  marked  to  be  so  played-  What  is  intended  to 
be  itrpressed  on  the  mind  of  the  pupil  is,  that  the  general  n^le 
must  be  to 

Hold  one  key  till  the  next  is  down,  but  not  Lo^'GER. 

And  no  exercise,  passage,  or  lesson  should  be  played  in  which 
this  cannot  be  strictly  attended  to,  until  a  perfect  hab't  of  play- 
ing upon  this  principle  is  acquired;  after  which  the  exceptions, 
such  as  raising  the  fingers  at  the  rests,  repeated  notes,  and  those 
marked  to  be  played  staccato  etc. ,  must  be  learned. 


©UIDE  TO  PBAOTICE, 


68 


OF  PKELIMINAKY  EXERCISES. 

It  is  important,  when  striking  a  key  with  one  finger,  to  «o 
without  moving  the  otheirs.  To  a^jquire  the  power  of  doing  this^ 
exercises  in  which  some  idngers  are  held  firmly  down  while  the 
others  are  moving  must  fae  practiced-    These  exercises  are  termed 

preliminary,"  because  they  are  to  be  practiced  before,  and  be- 
cause they  differ  in  principle  from  all  others  in  this  respect,  viz., 
that,  for  the  purpose  of  acquiring  for  each  finger  a  free  action, 
independent  of*  the  others,  those  fingers  which  are  not  employed 
in  playing  are  to  be  held  down  ;  whereas  the  general  rule  in  all 
other  exercises  is,  to  hold  none  down  but  what  are  actually  em- 
ployed in  playing. 

The  daily  practice  of  these,  for  a  short  time  previous  to  other 
exercises,  will  always  be  highly  beneficial. 

OF  LOOKING  AT  THE  FINGERS. 

It  is  essential  that  the  pupil  should  acquire  the  power  of  play- 
ing without  looking  at  the  fingers.  To  accomplish  this,  a  little 
time  should  occasionally  be  devoted  to  this  object  exclusively. 

It  must  be  obvious  that  the  object  of  all  exercises  for  this  pur- 
pose will  be  defeated,  if  they  be  played  till  the  pupil  remember 
them;  therefore,  the  same  must  never  be  played  twice  in  one 
day. 

Besides  those  which  are  expressly  intended  (by  directing  the 
attention  for  the  time  being  to  that  object  solely)  to  teach  the 
pupil  to  play  without  looking  at  the  fingers,  it  must  be  born  in 
mind  that  all  the  other  exercises  should  be  played  at  first,  and 
afterwards  practiced  till  they  can  be  executed  without  once  look- 
ing at  the  fingers  after  first  placing  the  hand. 

OF  THE  PRACTICE  OF  EXERCISES. 

The  greatest  difficulties  arise  from  a  want  of  attention  to  the 
position  of  the' hand,  and  the  manner  of  putting  down  as  well  as 
taking  up  the  fingers  at  the  proper  places-  The  attention  of  the 
pupil  must,  therefore,  be  directed  to  these  points  in  the  practice 
of  exercises  until  it  becomes  habitual  both  to  hold  the  hands 
well,  and  touch  the  keys  in  a  proper  manner.  Exercises  are 
classed  for  different  purposes,  such  as  the  practice  of  single 
notes,  double  notes,  arpeggios,  etc.,  and,  as  passages  similar  to 
all  exercises  will  be  found  in  lessons,  they  will,  after  being  prac- 
ticed and  mastered  as  exercises,  not  appear  as  difficulties  when 
they  occur. 

ORDER  OF  LEARNING  AND  PRACTICING  THE 

SCALES. 

When  the  pupil  is  sufficiently  advanced,  the  Scales  should  be 
learned  and  practiced  daily. 

On  Mondays,  or  any  fixed  day  of  the  week,  learn  one  Major 
Scale,  taken  in  regular  order,  and  its  relative  Minor,  and  practice 
the  same  six  times,  or  more,  every  day  during  the  week;  but  if^ 


OTIDE  TO  PRACTICE. 


at  the  week's  end,  they  are  not  done  correctly,  and  with  a«  mxioh 
fluency  as  may  be  desired,  the  same  must  be  practiced  for  a  w^ek, 
or  as  many  weeks  more  as  may  be  requisite,  before  proceediivg  to 
the  next. 

The  Scales  should  be  practiced  in  several  different  ways. 

First  mode  of  going  iJiroucih  ilie  scales. 

Practice  with  each  hand  separately,  ascending  and  descending 
six  or  more  times  without  intermission. 

It  may  not  be  useless  to  remark  that,  in  whichever  mode  they 
be  practiced,  the  following  points  must,  be  attended  to  : — 

The  hand  must  be  held  in  a  proper  position  throughout. 

As  one  finger  goes  down,  the  former  must  be  raised,  so  that 
always  one,  and  only  one,  key  be  down  at  a  time. 

In  passing  the  thumb  under  the  fingers,  or  fingers  over  the 
thumb,  great  care  must  be  taken  to  do  so  with  as  little  motion  of 
the  hand  as  possible. 

When  this  is  thoroughly,  though  perhaps  slowly,  accomplished, 
the  pupil  may  proceed  upon  the  same  principle  to  the  scale  nex^ 
in  succession,  until  all  have  been  gone  through  with. 

When  all  the  Scales  have  been  practiced  through  in  this 
manner,  it  will,  most  probably,  be  desirable  to  recommence,  and 
go  thraugh  the  same  course  again,  before  proceeding  to  the  next 
mode. 

Second  mode  of  going  through  the  Scales, 

Practice  with  both  hands  together,  ascending  and  descending 
eight  or  more  times  successively.  The  same  directions  as  to  po- 
sition of  the  hand,  correctness,  and  repetition,  if  necessary,  of  the 
same  Scales,  must  be  attended  to  in  this  and  succeeding  modes, 
as  are  recommended  in  the  first  mode  of  practicing  the  Scales; 
also  the  repetition  of  the  whole  course,  if  necessary. 

Third  mode  of  going  through  the  Scales, 

Instead  of  ascending  and  descending  as  before,  practice  each 
Scale  six  or  more  times,  ascending  only,  and  then  as  many  times 
descending  only,  with  each  hand  separately. 

Practice  progressively  with  increased  rapidity. 

Fourth  mode  of  going  through  the  Scales, 

Practice  each  Scale  eight  times,  or  more,  ascending  only,  and 
then  as  many  times  descendiuii;  oaly,  with  both  hands  together. 
Practice  progressively  with  increased  rapidity. 

Fifth  mode  of  going  through  the  Scales. 

Pvactice  each  Scale  in  thirds,  eight  times,  or  more. 

To  play  a  Scale  in  thirds,  bpgin  with  the  right  hand  on  the 
ihird  of  the  Scale,  with  the  fi  iger  that  would  have  been  upon  it 
had  the  Scale  been  commeno^^d  on  the  key  note,  playing  at  the 
game  time  with  the  left  hand  in  the  usual  manner. 


fSDIDE  TO  PBAOnCE. 


^issth  mode  of  going  through  the  Scales, 

Practice  each  Scale  in  sixths,  eight  times  or  more. 

To  play  a  Scale  in  sixths,  begin  with  the  left  hand  on  the  third 
®f  the  scale,  (v'z.,  a  sixth  below  the  right  hand,)  with  the  finger 
that  would  have  been  upo*^  H  had  the  Scale  been  commenced 
with  the  key  note,  pl?.ying  u.^  o^***  saiae  time  with  the  right  hand 
m  the  usual  manner. 

ON  THE  PEACTICE  OF  OLD  LESSONS. 

It  is  desirable  to  ke^ip  up  the  practice  of  the  old  lessoucs,  but  it 
5s  presumed  that  a  little  time  will  suffice  for  that  purpose  if  they 
have  been  properly  learned  ;  therefore,  at  the  seconl  Four's 
FBACTiCE.  on  Tuesdays,  Thursdays  and  Saturdays,  practice  an 
old  lesson,  if  it  be  done  properly,  proceed  to  another;  but  if  not, 
resume  the  practice  of  the  same  on  the  appointed  days,  till  it  bt 
iDerfect. 


new  Ceacbind  Pieces* 


IRST  GRADE. 

IN  A  GARDEN. 


5y  Adolph  Schroedcr. 


six  beautiful  and  melodious  pieces  for  beginner^,  carefuily  adapted  U 
tquiremeuts  of  young  students. 

1.  Doll's  march 

2.  Humming-bird  waltz.  j 
Sli^eet  brier  gavotte  |   6,    Phyllis  (Qipsy  danee) 

Price  20  cents  each. 


4.    I/ittle  boat  song 
o.    Sandman  (Slumber  son^; 


SECOND  GRADE. 

SOUNDS  FROin  TfiE  SEA-SfiORE.    By  Carl  ficnscbei, 

six  ^e  xceptionally  good  pieces  which  teachers  will  find  to  be  gejus  for  homer 
d  exhibition  purp'ose«f.   While  they  are  in  every  case  easily  within 
ade  in  point  of  difficuity,  s  he  eraceful  treatment  of  the  melodies,  in  e 
ja^fgcsts  music  of  a  hi^  ner  grade. 


Dance  of  the  mermaids 

.1    r-^^f  -.-a'^" 


i  4.  Whispering '9vave^  t  Revo rif' 
I  o,    Silveiy  spray 


Song  oi  the  sea-shell  gavotte  \  6.    Dancing  moonbeams  m. 
Price  25  cifnts  each. 


The  above  ilrst  and  secotid  ^  nde  pieces  are  all  carefullv  fing- 
ered and  eradtd 


THIRD  GRADE. 


By  Eminent  Compost 


Compositions  of  unusual  merit  and  invaluable  for  j>u;pils  who,  though  not 
having  mastered  the  difficulties  and"  tecnnique  of  strictly  clas  ;icalcpmpt-si- 
*ions,  are  ambitious  to  play  such  pieces  as  are  acceptable  to  ail  loversx>f  ra 


1. 

s. 

3. 
4. 
5. 

0. 


Brownies*  gavotte...  35 

Kntre  nous  two-step  40 

Mascot  march   40 

pr.  •  •  a  melody  .......  35 

Alet  ^:  f  wo-step . . .   40 

Jolly  Pioneers. ........  46 


7,  Dedication  march..,..  ......... 

.8.  Dancing  in  the  moonlight  ... 

9.  The  merry  dancers  two-step. 
]0.  Field  day  march.. 
11;  Le  gai  cavalier.  Two^^tep... 
12.  Black  Horse  Troop  march  . . 


The  above  are  all  new  and  original  composition 


